La Clique - Roundhouse Theatre, London

La Clique
Reviewer: Ian Foster

If Avenue Q is best described as an 18 certificate version of Sesame Street, then La Clique is just like the circus, albeit reconceived for an adult audience. After a highly successful 9 month run at the Hippodrome near Leicester Square, including winning the Best Entertainment Olivier Award, and then a world tour, La Clique has returned to London for an 8 week season at the Roundhouse in Camden: not bad for a show which has its beginnings at the Edinburgh Fringe.

Described as a "heady cocktail of cabaret, new burlesque, circus sideshow and contemporary variety", what makes La Clique unique is that no two shows are the same. They have a rotating roster of entertainers and performers with a variety of tricks and stunts which ensures each evening has its own special spin. It is set up like a circus in the round, with various options for seating in different rings: chairs at ringside, cabaret tables with waitress service, standing, and of course, regular seats, which means you can pick what kind of evening you would like to have, a nice touch.

And so to the show: it is a rapid-fire collection of turns ranging from acrobatics, illusions, songs and insane roller-skating antics. Highlights for me were Carl-Einar Häckner’s hysterical Swedish illusionist who had me in tears of laughter each time he came on, Ursula Martinez’s highly revealing striptease with disappearing handkerchief and the incredible roller-skating acrobatics of the Skating Willers which quite literally needs to be seen to be believed.

The changes between the acts were seamless, big credit to the backstage crew for executing these with lightning speed and efficiency, and this helped to maintain the party atmosphere which permeated the entire venue from the moment the lights went down.

On a final note, if you have ringside seats, make sure you wear something washable! I was splattered with beer, bits of banana and even some blood, all in the name of entertainment, and even helped one performer, Mario Queen of the Show, to crowd-surf over our heads! It all added to what was a hugely enjoyable experience, and one which feels genuinely fresh and unique, but above all, good fun.

Runs until 17th Jan 2010

Elequent Protest - Duke of Yorks Theatre, London

Eloquent Protest IV - Reading Between the Lines
Creator: Caroline Clegg

Reviewed: November 8th 2009

Reviewer: Jeffrey Mayhew and Sorcha Finch-Murray

This is not a critical write up in any real sense of the expression – and nor should it be. No matter how glowing the praise you will now not catch it now for it is gone and, were we insensitive enough to cavil, you would have a year to forget our remarks before its welcome return. And why is this all as it is?

Caroline Clegg, founder of Feelgood Theatre (“theatre that makes a difference”) created this now annual affirmation of peace as “an event where we can ‘be still’ and let art drown out the rhetoric and lies told in the justification of war”. In this she was totally successful this last Remembrance Day at the Duke of York’s Theatre. She had the highly skilled support of a large cast of performers of every style united by the overwhelming importance of the theme and their unswerving commitment to it. Chief amongst these – and I know no-one will mind the distinction – was Janie Dee who, despite immense calls on her time, has been both a driving force as a producer and a performer second to none. In this she had wonderful support from her family – husband Rupert Wickham and daughter Matilda.

Perhaps the most striking contribution was that of the doyen politician Tony Benn who, as in previous years, came across as deeply wise and humane and with something truly genuine about him that seems alien to the contemporary world of politics.

We felt that the most touching readings were in Act I; Sam West reading Futility by Wilfred Owen and later To Whom It May Concern by Adrian Mitchell stole the show, along with Jason Isaacs, who moved the auditorium to tears recounting the story of Private Cyrus Thatcher’s death, June 2009, reading the heartbreaking letters he had written to his family, who where also in the audience.

In contrast Act II felt very musical, sometimes more light-hearted and up-beat than Act I, and with more audience participation. We were asked to sing along with Roy Bailey’s folk songs on peace, and Reem Kelani’s song. The audience were much more active after the interval in contrast to the necessarily reflective and thoughtful response before.

Tony Benn was again warmly received and his anecdotes avidly listened to. He and Roy Bailey were an entertaining double-act with obvious affection and respect for each other. Johnnie Fiori stood out with her passionate and emotionally charged A Change Is Gonna Come - she had wonderful presence and power - together with Reem Kelani’s emotive and earthy performance of the song Mawwaal. Both had the audience whooping.

The company came together on the stage at the end and read from Reflections by Pablo Casals, and sang The Day Will Come. There was no differentiation between the actors, opera singers, musicians, war veterans and soldiers on stage. They had come together to commemorate those lost throughout the history of conflict. There was no ego or competition, but an overall sense of ensemble, mass rejection of the atrocities of war, and shared compassion for the suffering and pain it has, and is, causing.

All artists and theatre staff gave freely of their time, and profits go to The Mark Wright Project established by Bob and Jem Wright in memory of their son, Mark, killed in Afghanistan. The project provides support and advice for ex-sevicemen and women and their families in cases of injury or bereavement.

Do join us next year...

Photo of Tony Benn by Murdo Macleod for the Gaurdian 2008

Arturo Brachetti, Change - Garrick Theatre, London

Arturo Brachetti - Change
Reviewer: Evelyn Downing

There was an audible gasp from the audience as this show opened; the moment we witnessed the first instant transformation was stunning.

Brachetti has taken what is essentially a very simple concept – changing costumes extremely fast – and turned it into an art form. He has a wonderful physicality about his performance which is very engaging and gives him the great presence essential for a one man show.

The big production pieces were slick, seamless and brilliantly executed. His routines take the audience around London (I particularly enjoyed seeing Sid Vicious become the Queen!), into sc

enes from the past, through the seasons and on a whistle stop tour of the movies.

The use of a wonderfully constructed moving set that opens and closes to provide scene changes and illusions of its own, projections, lights and sound all add to the spectacle, providing a solid backdrop onto which Brachetti can lay his blend of illusion and magic. There is even a wonderful bit of shadow puppetry using only hands that includes a rather risqué rabbit...

This said however the show lacked soul. The routines were tied together rather clumsily by a slightly ineffective narrative that told a version of the story of his life and the use of projections and films meant that Brachetti was actually off stage for long periods of time. It felt as if the writer couldn’t quite decide if it was a piece of theatre or a magical showcase and the build to the ‘final transformation’ was a definite anti-climax.

Although I walked away feeling it could have been so much more with the addition of a stronger plot or more emphasis on the routines as routines, there were plenty of laughs and the spectacle is well worth a look. Overall it was a very enjoyable evening out.

Runs until 3rd January 2010
More information at www.changelondon.com

The Nolans: I’m In The Mood Again - The Metro Radio Arena, Newcastle upon Tyne

The Nolans: I'm In The Mood Again

Creative Director: Kim Gavin

Reviewer: Ian Cain

The recent reforming of The Bay City Rollers, The Osmonds, Kajagoogoo and Spandau Ballet seems to suggest that the ‘getting-back-together’ of seventies and eighties pop groups is a road well-travelled. Now one of the UK’s greatest girl groups, The Nolans, are proving that their revival path is paved purely with gold as they perform to sell-out venues across the country.

The wholesome Irish girls first took the pop scene by storm in 1974 and subsequently had a string of hits, the most notable being ‘I’m In The Mood For Dancing.’ They also supported both Frank Sinatra and Engelbert Humperdinck on major tours and sold more records than The Beatles in Japan.

The current line-up – Bernie, Linda, Coleen and Maureen – were responsible for the group’s most successful period between 1980 and 1982, making hits out of songs including ‘Don’t Make Waves’, ‘Gotta Pull Myself Together’, ‘Who’s Gonna Rock You’ and ‘Chemistry.’

Looking fabulous in their forties and fifties, the girls have now adopted a more stylish and sophisticated look. Gone are the spandex jumpsuits, the platforms and the boob-tubes and in come figure-hugging, curve-enhancing trouser suits, killer-heels and cocktail dresses.

The concert is billed as ‘the ultimate girls’ night out’ and that’s exactly what it is, incorporating all their biggest hits and best-remembered songs with the greatest girl anthems of modern times and a few surprises, too. Time has not diminished their ability to put on a show of the highest quality and their immaculate harmonies and clever choreography still result in women of a certain age leaping to their feet and dancing round their handbags as though they were still sixteen.

Technically, the concert is spectacular – a stunning set, great lighting design, a terrific sound system, pyrotechnics and even seven gorgeous, scantily-clad male dancers to cavort around the girls and spice up the show. The Nolan treatment is given to classics such as Bonnie Tyler’s ‘Holding Out For A Hero’, ‘It’s Raining Men’ by The Weather Girls, The Bangles’ ‘Eternal Flame’, ‘Chain Reaction’ by Diana Ross, Girls Aloud’s ‘The Promise’ and disco diva Gloria Gaynor’s ‘I Will Survive.’

Another highlight of the show was the segment in which the ladies step forward, individually, to perform a solo. Each of the songs seemed to match the voice and personality of the singer. Coleen gave a flirty version of Alesha Dixon’s ‘The Boy Does Nothing’, Linda sang an emotionally-charged cover of Duffy’s ‘Mercy’, Maureen opted for Amy Winehouse’s ‘Valerie’ and Bernie rounded off with Pink’s ‘So What.’

But, as you might have guessed, it was their own back catalogue that really raised the roof and ‘Attention To Me’, ‘Don’t Love Me Too Hard’ and ‘Crashing Down’ were rapturously received. One of the nicest moments of the show came when the group took their bows and left the stage. Not having performed their trademark track, ‘I’m In The Mood For Dancing’, the audience spontaneously erupted into an impromptu chorus of the song and were rewarded with the reappearance of the divas to deliver the number they wanted. Magical.

The Nolan’s family motto has always been ‘family first, showbiz second’ and they remained true to form with this show. Bernie’s husband, Steve Doneathy, was on drums, whilst Coleen’s husband, Ray Fensome played guitar. The sensational support act were family members, too, in the shape of Coleen’s son’s, Shane and Jake.

After an amazing evening’s entertainment, one thing is certain – I’m definitely in the mood again!

The tour continues at Liverpool, Glasgow, Birmingham, Bournemouth, Sheffield, Hammersmith, Doncaster, Edinburgh, Dublin, Killarney, Castlebar and Belfast.

Finger in the Pie Cabaret - Madam Jo Jo’s, London

Finger in the Pie Cabaret
Reviewer: Honour Bayes

Finger in the Pie Cabaret is quite a veteran on this scene and it’s easy to see why, with a loyal audience of fans and friends all eager to laugh on a Sunday night it’s a tasty little treat to get you ready to deal with the dull dull week ahead. Tonight there is a naughty feeling in the air at Madam Jo Jo’s as the sparkly cabaret sign and Pheonix Nights-esque star lit backdrop twinkle away in anticipation of the fun to follow.

Myra Dubois saunters out wearing a slinky leopard print number with on trend leggings and a £2.50 bangle from Peacocks, and sets the tone of the evening with a sassy introduction and a lesson on audience etiquette which goes down very nicely, if a tad brashly.

According to the acidic Myra the line up has changed slightly due to some unfortunate cancellations which may account for the fact that we have a sequence of Burlesque acts one after the other to start off with; there certainly doesn’t seem to be any other reason to programme the performers in this way. One set of boobs is titillating, two and we’ve got charmed déjà vu, three and it gets plain tiresome; the delight of cabaret is to mix things up, a talking dog one moment, a flash of skin the next, and to put similar acts together like this seems mistaken.

Whilst Misty Moores has a fabulous sailor girl act with just the right amount of cheek, of these girls the best is the wonderfully loopy Delilah D’Lush whose Crazy In Love straightjacket striptease brings a refreshing dash of originality and jiggley joy to the stage. Getting straight to the heart of great Burlesque D’Lush clearly knows full well that you need to be sexy but above all kitschy and seriously tongue in cheek.

A well timed break later and a failed audience matchmaking attempt by Myra, and we are treated to a look into the weird workings of comedienne Liz Bentley, whose brief poems and songs skate the thin line between awkward and intriguing; her wonderfully sunny smile belying a pretty dark sense of humour which left some laughing but most kindly puzzled. A honey pot of an act in the form of Kimberly Mackoy then gyrates through a delicate belly dancing number and then to plug a hole left by a missing programmed performer comes Tom Rogerson, a truly astonishing beat boxer whose star quality shines the rest of them off the stage. His dirty but perfectly toned drum beats and high whispered melodies blast out as he frequently defies audience belief by unifying not only two but a cavalcade of sounds and rhythms, prompting a near standing ovation from the enraptured crowd. He made the whole night worthwhile in one fell swoop – more of him next time please.

After some fairly average hip-hop grannies the night is finished off in a suitably freakish fashion (I won’t spoil the horrors for you but suffice it to say there’s a stapler and a balloon involved) and we are kicked out into the cold London air once more by our malevolent hostess Myra; for the most part satisfied. It would be brilliant to have more ‘Tom Rogersons’ and less Burlesque, and for their to be a more of a ‘company’ feel to the whole piece (each act seemed to stand slightly alone) but all in all Finger in the Pie Cabaret sparkled very prettily and teased one and all in a most satisfactory fashion on a what would otherwise have been a traditionally staid Sunday evening.

For more info click here

Encore - The Customs House, South Shields

Encore
Reviewed by: Ian Cain

One of the best things about being a reviewer is that you get to see some great shows. Seems obvious, right? Not always! All too often, theatre critics are derided for ‘panning’ or ‘mauling’ productions that don’t come up to scratch – so, imagine what a feeling of elation we experience when we leave a theatre and can, in all honesty, put our hands on our heart and say: ‘That was fantastic.’

Encore are a cabaret group that combine comedy, song and sketches in the manner that was once the staple of Saturday night prime-time television. Now celebrating their tenth anniversary, they have brought their brand new show to The Customs House for a week long run.

In it, they take the audience on a magical, musical journey through many of the West End’s biggest box office hits, from ‘42nd Street’ to ‘Wicked’ via ‘We Will Rock You’, ‘Blood Brothers’ and ‘Mamma Mia!’ The group harmonies are perfectly arranged and delivered with polish and flair, while the solo performances allow individuals to shine out.

Songs are sorted into themed sections and performed as comedy sketches. A particular highlight is the pastiche of ’Allo, ’Allo, which incorporates songs such as ‘Thank Heaven For Little Girls’, ‘Je T’aime . . . Moi Non Plus’ and ‘My Cherie Amour’ and some risqué double-entendres with baguettes!

There is also a set devoted to Willy Russell’s devastating masterpiece, ‘Blood Brothers’ and a performance of ‘Tell Me It’s Not True’ that is worthy of the West End. The group are backed by a fantastic four piece band that never hit a wrong note. Pianist Andrew Richardson even performs a couple of solo numbers, too.

In today’s fame-obsessed society, it is reassuring to note that Britain’s Got Talent – although you may not find it on Saturday night prime time television as much as was once the case. Instead, take a trip to your local theatre – you may be pleasantly surprised with what it has in store for you. One last question: Why don’t Encore have their own television show? They provide the kind of entertainment that we could do with a whole lot more of in recession-hit Britain.

La Clique - London Hippodrome

La Clique

Conceived by Brett Hayback & David Bates

Reviewer: Honour Bayes

Whipping cabaret into the 21st Century, La Clique is the most fabulous show in town. Filled with daring do and skill, all covered in a healthy dose of sexy charm and wit, this international band of performers has wowed audiences across the world in The Famous Speigeltent for years. They are now in their last month at London's Hippodrome before coming back to the Camden Roundhouse for a limited Christmas Season. Indeed London seems desperate not to let them go and it's easy to see why in a show which fills the drizzle of the current British climate with rose tinted, life affirming (oh and did I mention, incredibly skilled) fun and joyful possibility.

Circus is on the rise in England at the moment, with company's such as No Fit State and Ockham's Razor on cracking form with performances at the Roundhouse and the Lyric, and it is easy to see why. This magical blending of aerialism, acrobatics, juggling, thumping sexy music or just pure old fashioned magnetic showmanship is incredibly attractive. This is passionate, enthralling performance - prepare to be dazzled and you will not be disappointed.

Of them all La Clique are the queens of blending cabaret with burlesque with a show which will make you want to sleep with each and everyone of the performers on stage, from the breathtakingly sexy English Gents to the slight framed contortionist Captain Frodo (and yes he CAN do what you're thinking). The intoxicating Meow Meow will wind you around her vampiric and throaty performance, and Marawa's bootylicious hoopla act is fun and feisty. Bret Pfister's 1980's emo aerialist act is witty and impressive; marrying the swoopy feel of a flock of seagulls with the iron strength of a man who can hang from a hoop from just the bridge of his foot.

Of all these delightfully prancing peacocks, my personal favourite is the incomprehensibly charming Mario Queen of the Circus. Dressed like Freddie Mercury and performing a myriad of talents from crowd surfing to a wickedly funny juggling act to Another One Bites The Dust, Mario is a enchanting performer who could make Queen Victoria herself amused. But this is the point - my favourite may not be your favourite, but what I can guarantee is that when you leave this vibrant space you will not only have a firm favourite of your own but you will have taken every single one of these enthralling performers into your heart, making your journey home in the grey London night life just that little bit more sparkly.

A stunning escapade and an alcohol infused, popcorn/toffee apple spectacular to remember, La Clique is a show to take your friends and family to now before it closes. But make sure all are accounted for when you leave - you never know, one of your party may have submitted to the infinite temptation to run away with this circus, I know I nearly did.

Photos: Perou

La Clique is running at the Hippodrome until Saturday 27 June.

For Camden dates see their website http://www.lacliquelondon.com/default.asp

Jane McDonald in Concert - The City Hall, Newcastle upon Tyne

Jane McDonald In Concert
Musical Direction/Arrangements by: Jarek Pyc
Reviewer: Ian Cain

After spending fifteen years singing on the stages of working men’s clubs in West Yorkshire, Jane McDonald graduated to entertaining passengers on board luxury cruise ships and was catapulted to stardom by a fly-on-the-wall documentary, ‘The Cruise.’

Since then, she has carved out a hugely successful career and has sold hundreds of thousands of albums, performed at many of the world’s most prestigious concert venues including The Royal Albert Hall and The London Palladium, sold-out the MGM Grand Hotel in Las Vegas and earned a place in The Guinness Book of Records for being the first artist to top the album charts without a prior release.

Now in the middle of an extensive UK Tour, she took Newcastle upon Tyne by storm with a sensational concert at The City Hall.

To say that Jane has a loyal fan-base would be something of an understatement. She is absolutely adored by her followers and they weren’t afraid to let her know it as they called out ‘We love you, Jane.’

The concert was a mix of hits from her albums, her own compositions and a selection of some of the biggest and best-loved belters ever to have been recorded. Jane made each and every song entirely her own with a vocal prowess and versatility that was nothing short of phenomenal.

From the hits of Dusty Springfield to Duffy, Motown to musicals and Barry Manilow to Burt Bacharach, the mesmerising Miss McDonald wowed the crowd with a powerhouse performance that seemed almost effortless.

She looked as stunning as she sounded, dressed first in a pink gown that complimented her curvy figure, and later in a shimmering silver gown that sparkled almost as brightly as her personality.

Backed by three fabulous backing singers, Jo Boyne, Stephen Foster and Sue Ravey, and a fantastic live band, under the musical direction of Jarek Pyc, Jane took the audience on a journey through virtually every musical genre.

The power and clarity of her voice combined with a heartfelt deliverance made the ballads, including ‘You’re My World’ and ‘You Don’t Have To Say You Love Me’, all the more poignant. This was demonstrated to greatest effect in ‘Not A Day Goes By’, the song that Jane wrote in the wake of her grandmother’s death. The emotion that she injected into this tear-jerker was tangible throughout the auditorium.

Of course, always a performer to end on a high note, Jane rounded the evening off with ‘Disc Inferno’, ‘Voulez-vous’ and ‘Dance Yourself Dizzy.’

The thunderous applause and standing ovation seemed to genuinely take Miss McDonald by surprise, although it must surely have left her in no doubt that she’d be welcome back to Newcastle any time soon.

Photos by kind permission of Charles Bashworth
further information and tour dates/venues visit http://www.jane-mcdonald.com/

Bobby Pattinson & Friends- The Customs House, South Shields

Bobby Pattinson & Friends
Reviewer: Ian Cain

Evergreen entertainer Bobby Pattinson is known throughout North East England as The Godfather of Geordie Comedy, and last night he proved to the capacity crowd at The Customs House that the title is justified.

His particular style of comedy is the sort that was synonymous with the working men’s clubs throughout the 60s, 70s and 80s but is, sadly, in decline nowadays. The silver-haired, sharp-witted septogenarian had the audience in hysterics right from the start with his astute observations of life in the North East.

Bobby also introduced the audience to a talented trio of performers, Dave Black, Paul Squire and Alfie Joey.

Black, a singer and guitarist, had the audience singing along to Mr Dream Seller by local group, Lindisfarne, as well as Fields of Gold, Abracadabra, Summer of ’69, Lying in the Arms of Mary and Rockin’ All Over The World.

Paul Squire presented a mix of comedy, impressions and music. His impersonation of Saddam Hussein transformed into Frank Spencer then Kenneth Williams seemingly without effort. He also proved that he could sell a song with his version of The Wind Beneath My Wings.

Comedian and local radio presenter Alfie Joey was terrific and went down a storm. He, too, interspersed comedy with impersonations and his take on Bruce Forsyth was a highlight. However, his musings on the possibility of ‘Bush & Blair: The Musical’ raised the rafters.

Dance troupe The Dolly Rockers performed a routine to Michael Jackson’s ‘Thriller’ and concluded the evening with a burlesque arrangement that included The Can Can.

What should also be mentioned is the fact, as well as sheer entertainment, Bobby Pattinson’s shows raise many thousands of pounds in aid of The Variety Club. This local legend may have a razor-sharp wit but he has a heart of gold, too.

The Best of Brian Conley - Worthing Pavilion

The Best of Brian Conley
Reviewer: John Roberts

It has been good over the last few weeks to see Brian Conley back on prime time television as part of Ant & Dec's Saturday Night Take Away. Brian has always been a consummate performer being able to entertain both children and adults alike with his traditional blend of comedy and musical entertainment.

I remember as a 14 year old making sure I was always home on a Saturday evening by 7pm just in time for the Brian Conley show, and it was with this same excitement that one looked forward to this new evening of light entertainment which is currently on the first legs of it's tour (in fact the Worthing date was the first performance.)

Unfortunately the show in its current format just doesn't work, it is scattered with various supporting artists who were not as talented as one would hope to see in a production, the pace of the production loses all momentum and to ones disappointment any factor of being entertained, there really is only so many times you can see a ventriloquist joke about fart gags, or for singers to be inaudible one moment then ear shatteringly loud the next, which to this reviewer is quite frankly inexcusable, and as for the dancers (who are fantastically easy on the eyes,) their choreography though was less easy and shockingly messy.

The only saving grace was Brian himself, who throughout this production had the audience eating out of his hands, with guest appearances from Dangerous Brian, Nick Frisbee and of course Larry the Loafer kept the audience laughing throughout, but Brian isn't just a comic he is a fantastic singer and performances from his Olivier Award winning performance as Al Johnson really brought the house down, It's a pity we didn't get any songs from his recent stage persona Professor Harold Hill from the Music Man.

The clue to making this show is in its title, The Best of Brian Conley, if this had been strictly kept too the audience would have 90minutes to 2 hours of pure entertainment (which is worth seeing) without having the added extra of an hour of substandard cabaret.

For information in the tour click here

Elaine Paige - Theatre Royal, Newcastle

Elaine Paige: Celebrating 40 Years on Stage
Director: Christopher Luscombe
Musical Director: Chris Egan
Reviewer: Ian Cain

Only a handful of musical theatre performers make such an outstanding and long-lasting contribution to the genre that they survive in the profession long enough to celebrate forty years of performing, but that’s exactly what the sensational Elaine Paige is doing.

The queen of the musical stage is marking her Ruby anniversary with a month-long national tour and packing the punters in.

Surprisingly, Miss Paige was a little weak to begin with as she performed a selection of numbers from her early days. However, it didn’t take long for her to break into her stride and start belting.

At almost 61, Paige still looks stunning and in a silver three-quarter length jacket and black trousers she was a picture of understated elegance.

Giving numbers such as Tomorrow, Broadway Baby and Hey, Mr Producer that inimitable touch of Paige perfection, she used the songs to chronicle events in her life and threw in a sprinkling of anecdotes for good measure.

The self-deprecating pint-sized performer poked fun at her lack of height with a song that was written especially for her, by George Stiles and Anthony Drewe, entitled Small Packages. She also revealed that, early in her career, she was often passed over for roles because she was deemed to be too short.

The concert comprises twenty five numbers but, obviously, the audience have primarily come to hear her sing those showstoppers that she is famous for. The first half of the concert contains a rendition of I Don’t Know How To Love Him from ‘Jesus Christ Superstar’ and culminates in a breathtaking performance of Don’t Cry For Me Argentina from ‘Evita.’

The second part of the evening commences with the superb six-piece band, under the Musical Direction of Chris Egan, playing a ‘Sunset Boulevard’ overture. Then, suddenly, Paige makes her entrance as alter-ego Norma Desmond in her original costume from the Broadway production, complete with turban and sunglasses.

After delivering a sensational rendition of As If We Never Said Goodbye, she takes on the guise of Mrs Lovett to perform By The Sea from ‘Sweeney Todd,’ before donning a black wig and becoming Edith Piaf to treat the audience to The Ballad of Poor Old John, Non, Je Ne Regrette Rien and Hymne a L’amour.

The evening was concluded with a spine-tingling performance of Memory from ‘Cats,’ With One Look from ‘Sunset Boulevard’ and a well-deserved standing ovation from the audience.

Elaine Paige is touring throught the country for more information please click here

Circus of Horrors - Floral Pavilion, New Brighton

The Circus of Horrors - The Asylum

Reviewer: Helen Patrick

Entering the doors had me slightly taken aback due to various characters from the show selling programmes and generally just going round scaring the living day lights out of people, me being one of them, to the point of me having to swap seats with my husband so i wasn’t on the end of the row. The show has a recorded message before beginning it states “Circus of Horrors is not suitable for chavs, sissies, close minded bigots and people of a nervous disposition................. “. I am unable to let you know the rest as it is unsuitable to be written yet very funny.

The show is rated a PG and there were some children of various ages in the audience yet it’s not the type of ‘circus’ I want my 7 year old watching.

The stage set was cluttered and very disorganised or so it seemed to begin with, during the first half you realise it is exactly how it needs to be due to the vast array of props and equipment needed. The lighting was bright sometimes to bright blurring my vision and the music was excellent yet far too loud to hear the words being sung. Don’t let my negative comments put you off though, the show was gruesome, funny and vulgar and definitely worth seeing.

When the show begins there is in my opinion to many tricks and horrors going on and you don’t know which to look at first, but within seconds it becomes clear that each artiste will have their own time to ‘shine’. The gymnastics, the crude antics and the ever amazing illusions have you sitting there wondering what on earth they can do to amaze you next, yet it just keeps coming.

The audience gasped with disbelief at parts, imagine seeing a man ripped in half or watching a lady have her throat slit open. The illusions really are made to look realistic and spectacular.

There is a story to this show yet it is hard to follow as you are more aware of the performances going on around rather than the story being sung. We know from the beginning it is based in an Asylum for the criminally insane and that’s about as far as I got with the story line.

‘Garry stretch’ has two Guinness world records for skin stretching hence the name, yet knowing this i felt he didn’t show us enough of his talent during the show, don’t get me wrong he is either talented or a pure freak but the slot he is given doesn’t do him justice. The gymnasts are also very talented they can get into positions you would not believe. All the cast of this ‘circus’ are talented in their own unique way and for this they are worth watching.

Dr Haze is then main man of the show. He is involved in a few illusions but is mainly there to relay the story via song. It is Professor Daniel Von Henry who gets the most laughs during this performance and you will be amazed by the items he attaches to parts of his anatomy.

The circus of horrors is one show my husband had been looking forward to and he did enjoy it as much as I did, unfortunately we are both undecided as to whether it was pure talent or just a freak show and whether or not it’s worth the £15 each to view a bunch of talented freaks on stage, don’t get me wrong it’s a show worth seeing but definitely only once, and never take a young child to watch this, the language, the sexual innuendos, the bizarre illusions could disturb such a young and imaginative brain. Yet for adults who are not easily traumatised or offended go and see this whilst on tour.

For dates on the tour please click here

Mikelangelo & Undine Francesca - Battersea Arts Centre

Mikelangelo & Undine Francesca

Review: Honor Bayes

‘Prepare to be plunged into a netherworld of dreams and desire as these transcontinental lovebirds weave together a collection of brooding, sensual and darkly humorous songs and stories for your delectation.’

Sitting on bean bags in the BAC’s already bohemian cafe atmosphere, as I bite the head off a ginger bread man given to me by a lady in grey, I realise that I have truly been plunged into the weird and wonderful world of Mikelangelo and Undine Francesca. Like a strange marriage between one of Dracula’s wives and Elvis post speed and hamburger binge, these two extraordinary and hypnotic performers deliver an hour’s worth of sensual songs, interweaving darkling stories with a rock-a-billy beat in a smooth flamenco style.

With the constant hum of chatter in the bar behind, they never have to fight for focus or struggle to be heard, Mikelangelo’s relaxed fruity baritone and Undine’s undulating flicks, shimmers and wide eyed stares succeed in holding the audiences’ attention with such a potent force that at times you forget to blink.

They tell us stories of dancing with devils, step by step, hoof by hoof, of a 50 foot woman who blocks out the sun and of Mikelangelo’s strange birth – hatching out of an egg which has fallen from a tree sheltering his copulating parents from the elements. Such is the depth and breadth of their imagination that even Tim Burton would be proud to call this evening his own, and the proceedings definitely have a strong whiff of Tom Waits about them. However these are definitely two unique performers and they compliment each other perfectly, sparring with one another through a mixture of piecing humour and desperate seriousness, they coax you into their world and although you may feel slightly unsettled by its dark sensual surroundings, one feels strangely proud to have been chosen to be invited into it.

Performance artists working on a new musical piece The Honeymoon Suite, Mikel and Undine are definitely two performers to follow as they work in tandem with the BAC in the future. They throw themselves into this work with a skillful strangeness and eccentric vitality which is immensely enjoyable to behold and I for one am anxious to see a more fully formed version of their Kabaret Noir. As it is, this performance is an event which could be described as wearing its heart on its sleeve, but actually its a performance that takes its heart and sews it into the arm of a black lace accessory and it’s all the more wonderful for it.

La Clique - London Hippodrome

La Clique
London Hippodrome
Conceived by Brett Hayback & David Bates
Reviewed by John Garfield-Roberts

Originally created in 2004 for the Edinburgh festival and performed in the world famous Spiegletent (one of the last Flemish mirror tents in existence.) La Clique is a constant changing line up of some of the worlds best international circus and burlesque performers that you will ever see.

Taking up residency at the London Hippodrome La Clique has brought back Variety to one of London's original variety hot spots, and the design team for this production have gone to work in every aspect of the evening - even entering the foyer your senses are taken on a sensual journey with dimmed lighting, swaths of luxurious dark black and red material and beautifully looking and scented orchids and roses adorn and tantalise and tease your nose.

The performance flows smoothly between acts and most of the action takes place in the small centre stage or Podium with the audience completely in the round. This is a production like no other and its refreshing to see something so different and aimed at an adult audience...something the West End has been missing for quite sometime.

As you would expect with a Variety show, some acts are going to be better than others this is true to form with La Clique from the amazing Water Bath Ariel Acrobatics of and i quote from two ladies sat next to me 'The most beautiful man alive on earth.' (David O'Mer) to the sensational Cabaret Decadanse in which their act using environmentally friendly puppets are combined with themselves and highly energetic choreography that put this duo into a whole new league.

The female contingents form only a small segment of La Clique and bring just the right amount tease for the gents to enjoy and there partners not to feel uncomfortable, even Ursula Martinez's famous hanky routine left the audience in hysterics - combining the fine art of burlesque stripping magic and pure facial comedy to create an act your unlikely to see again in any theatre soon.

Unfortunately the weakest link to this fantastic performance is Mario Queen of the Circus, his leather clad Freddie mercury juggling tribute act, left me feeling cold and embarrassed and just wanting his act to end as soon as possible...if your going to juggle 3 clubs or four balls its important that you are flawless but it seemed that this part of the act wasn't what his focus was on it seemed that he would rather juggle a multitude of four letter words perfectly through his mouth than juggle with his hands.

The stars of this production are The English Gentlemen (even though they are Australian!) who combine sheer physical acrobatics with excellent Physical Theatre performing tricks that you could only wish you could do, but for these two gents you wouldn't be able to tell the strain they are putting their bodies through as its the character that appears to be the number one focus. I'm never going to be able to look at a tennis racket again in the same light after Captain Frodo's ingeniously comic contortionist act. This is an act that with leave you wincing in pain and laughing hysterically and absolutely amazed at what he can do!

La Clique is one of the best shows in town and really does prove that Burlesque and Cirucs isn't dead but is alive and well in the heart of London's West End.