Music

Little Baby Bum

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Little Baby Bum

Many parents with babies and toddlers will know of – and probably be exceedingly grateful to! – the nursery rhyme world of Little Baby Bum.

For the uninitiated, Little Baby Bum – or LBB as it’s known – is one of the world’s most popular educational YouTube channels.

LBB features colourful computer-animated versions of traditional nursery rhymes and original songs, and featuring a cast of recurring fun character.

From The Wheels on the Bus (2.1 billion views online and counting!) to Twinkle Twinkle Little Star, many a parent (this reviewer included!) can probably credit LBB for helping their little ones learn the words to the classics.

Little Baby Bum Live

And now LBB has followed other major family brands like Teletubbies and Peppa Pig in taking to the stage – with the first tour of Little Baby Bum Live hitting the Lowry this weekend, in the large Lyric theatre no less!

I’ve often thought there was a gap in the market for a live show dedicated to nursery rhymes, so was curious to see if the LBB magic could translate to the stage.

My little reviewer (3 and a half) started bopping his head as soon as he entered the auditorium, thanks to the jolly pre-show music, which was a good sign.

The show introduces audiences to popular LBB characters including Mia, Jacus, Baa Baa Sheep the Baker, Incy Wincy Spider, Stan the Monster, Pig, Baby Panda and my son’s favourite, a high-energy, high-kicking, high-faulting Old Macdonald.

Little Baby Bum Live

Using an effective mix of colourful projections, props and puppets, LBB favourites are performed within the framework of preparing for a parade at the end of the show.

The cast are all excellent, switching roles, costumes and puppets with ease – and are in fine voice, so those all-important nursery rhymes are done justice.

Most of our favourites were included, and we particularly loved the section of non-stop songs towards the end that included faves like Ring a Roses, Grand Old Duke of York and many more.

This finale was so fantastic that on reflection I wonder if there could have been a little less talking about the parade in the first half the show, and a little more singing! But maybe I’m just being greedy!

Little Baby Bum Live

The only real negative aspect to the LBB Live experience was the impact on the show the persistent flash photography had on things – sadly many parents ignoring the explicit request at the start of the show by cast members, while photos and videos were encouraged, flashes should be turned off. Perhaps a no photography at all rule should be considered as all the screens and flashes was very distracting.

But this gripe aside, Little Baby Bum Live Was an extremely enjoyable show for pre-schoolers, especially if they are familiar of the LBB world. It effectively captures the charm and magic of singing these songs – and I’m happy to report singing and dancing along was encouraged throughout!

More information and further tour dates can be found here.

Interview | Jonathan Harvey | DUSTY

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JH

BAFTA and Olivier nominated writer Jonathan Harvey (Beautiful Thing, Coronation Street) has recently taken on a new challenge, bringing the legendary Dusty Springfield to life in a new and hotly anticipated production, DUSTY the musical.

Based on the personal memories of those who knew her best and chock-full of timeless classics including, I Only Want to Be with You, Son of a Preacher Man and You Don’t Have to Say You Love Me, DUSTY the musical heads to The Lowry’s Lyric theatre for one week only as part of its premiere UK tour starring the magnificent Katherine Kingsley, Rufus Hound and Roberta Taylor.

We caught up with writer Jonathan Harvey ahead of the show opening at the Lowry on Tuesday 24th July to hear a little more about the new musical which critics are describing as ‘outstanding’.

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ON: What was your starting point when it came to writing DUSTY the musical?

JH: I spoke to the producers who had their own ideas for what they wanted the story to be, I mostly researched through books and DVD documentaries from over the years, I read and watched as much as I could. Dusty was really popular in Australia so I found lots of Australian TV interviews and watched those. When she died the BBC did an amazing documentary about her which is still on YouTube which was a great piece for my research. I also spoke with her Personal Assistant who is also a character in the show that was invaluable really.

Dusty I think was all things to all people, I can really identify with that, you might behave one way with your mates then a completely different way with your partner, so I read some descriptions and thought, that’s nothing like the one I just read so it was really important to get to the true essence of Dusty so we can deliver that in the show.

ON: Is it a challenge to tell the story of someone so private?

JH: Yes, you are conscious of that but everything we’re featuring in the play has already been said before so we’re not exposing anything, everything I’ve included is out there, I’ve just brought it together and made a drama about it. What’s brilliant about someone who is private is what goes on behind closed doors is often some of the most interesting things about them so we get a glimpse into that which I think will really entertain and engage audiences.

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ON: Have you had any surprises whilst researching?

JH: Absolutely I’ve found out some really interesting information, I didn’t know she’d been kicked out of South Africa for refusing to play to segregated audiences, incredibly she was really slagged off for doing it, the British press went ballistic about it at the time because it was such a political thing to do and pop stars at the time weren’t expected to act like that, many household names at the time were happily playing to separated audiences.

She hosted Ready, Steady, Go and had a Motown special on there featuring black artists she’d met in America, then suddenly after this their careers here took off all thanks to Dusty. Things like that I’ve found just so interesting, she was a real innovator.

Some people I’ve spoken to when I mention Dusty didn’t know she was British, didn’t know she was gay or didn’t know she was white. She did a lot of things ahead of her time. To get into a recording studio and be in charge and tell people exactly what she wanted was a new thing for the men working with her. She seemed to do a lot of firsts, mix this in with all her amazing songs and getting involved for me was a no brainer.

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ON: Do you feel then the show is a celebration of women?

JH: The story works best when she’s surrounded by her two best friends, her PA and her hairdresser. It’s interesting that when she went off to America in the 70’s and her mates weren’t with her she spiralled into drug and alcohol addiction, lost everything and only really got back on track when she got back to Britain with her mates around her. So I’d say it’s a real celebration of friendship.

ON: What can audiences expect from the show?

JH: They can expect something more than your average jukebox musical. The last workshop we did I invited two of my mates, one of which being the actress Kathy Burke who is always brutally honest with me and I also invited my mate Tina, Tina hates musicals. Two songs in I looked at them both sat on the front row and they were both crying their eyes out and then the next minute they were really laughing. Tina said to me, ‘I hate musicals but I really, really like this’ and Kathy said ‘She’s a f***ing star’ ha ha. It’s very moving but you’ll also have such a laugh, we’re having such a scream with this show. Kathryn is incredible, right from the audition she really made me laugh and her talent really stood out I couldn’t think of anyone more perfect for the role.

DUSTY

DUSTY opens at the Lowry on Tuesday 24th July and runs until Saturday 28th July tickets available here.

The Last Ship

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Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Reviewed by Matt Forrest

It’s rather fitting The Last Ship should wind up its UK tour in Salford: sure, they never built ships there, but the Lowry now stands on a site that up until 1972 was a working port. However soon like so many British industries the Salford/Manchester docks closed with 3000 people losing their jobs. So, it seems rather fitting then that for one last time (well on this tour at least), The Last Ship sets sail.

The story revolves around the return of local boy Gideon Fletcher, (Richard Fleeshman) who 17 years prior fled the town and joined the navy: he could see the writing was on the wall even back then for the shipyard and wanted to avoid the seemingly inevitable indoctrination into that way of life. However, on his return he now finds his town in potential ruin from the proposed closure of the ship yard. To make matter worse he receives a frosty reception from his old-flame Meg Dawson, (Frances McNamee) the girl he left behind. These two may be the focal point, but this is story with a bigger tale to tell: one of community, hope and defiance.

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The Last Ship is Sting’s love letter to a town he grew up in and a life he had once known. It fully acknowledges the pride and struggle that the people of Tyneside and other communities faced at the closure of not just the docks but coalmines and pits as well. Songs like “The Last Ship” the “Shipyard” swell with pride with the latter being a foot stamping statement of intent.

The cast are on fine form, Richard Fleeshman makes for engaging, charismatic lead, who at times doesn’t half sound like Sting when singing. Joe McGann and Penelope White as shipyard foreman Jackie White and his wife Peggy, make for a heart-warming, strong couple, who have each other’s and the rest of the communities backs at all times. The show is packed full of spirited and strong performances throughout that certainly do the source material full credit.

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The production design by 59 Productions is outstanding: one minute you’re in a dockyard the next a church complete with stain glass windows and eerie echo. Above we have the claustrophobic grey clouds, and magnificent tower cranes: the visuals take this production to another level, never ‘showy’ or flash, just simply stunning.

Anyone expecting an all singing, all dancing musical affair complete with ‘jazz-hands’ need look elsewhere, for this is production filled heart, soul and an unashamed political agenda. It calls out Margret Thatcher and the government of the day for the pain and suffering they caused so many at that time. The production highlights the mistakes of the past a warning to make sure these mistakes aren’t repeated in the future, especially regarding the NHS: It certainly has some something to say, and it says it loud and unashamedly proud.

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At the close of the production the cast took a well-earned standing ovation and gave us one last song: joined by Sting for an unannounced, unassuming blink and you’ll miss it cameo for the Last Ships final week of shows, judging by this performance lets hope there are plenty more voyages to come!

The Last Ship is at the Lowry until 7th July tickets available here.

This is Elvis

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Opening Night verdict ⭐️⭐️⭐️⭐️

Writer Matt Forrest

Elvis Aaron Presley is the undisputed King of Rock N Roll, which is just a fact. Presley is beloved by millions of people around the world: in the UK alone, he had 21 number one singles, a feat yet to be matched. However Presley wasn’t always top dog: during the mid 1960’s things we’re looking pretty grim for ‘Elvis the Pelvis’: a string of poorly received films, his last live performance coming in 1961, it would be fair to say that by 1968 Elvis wasn’t in a good place.

However all that would change with the famous NBC ‘68 Comeback Special’ television broadcast which is where This is Elvis starts. The production opens at the NBC studios as we see a performer riddled with self-doubt and confidence issues only to make a triumphant comeback. Presley is back on the map and wanting to hit the road again, however the strangle-hold that his manager, Colonel Tom Parker, has over him forces Presley into undertaking a 57 show residency in Las Vegas, a situation Presley isn’t keen on. In addition to this, there are marriage problems, anxiety issues, and a certain degree of pressure from the Memphis Mafia, the nickname given to friends and associates of Presley.

This is certainly a production of two halves: the first being that of a musical, the second being a tribute concert, with the latter working out more than the first. Acts one and two provide a useful insight into the extraordinary pressure that Elvis put himself under, in addition to the external issues that were blighting him. Though done in a ham-fisted manner, they are essential to gaining an understanding of Presley. During the Las Vegas show-case finale we are treated  to one of the legendary Las Vegas’s performances with all the showmanship and charisma we associate  with the ‘King’, however the performance is punctured with a great deal of pathos as well.

Steve Michaels is outstanding in the lead role: an international award winning Elvis tribute act in his own right. His performance during the Las Vegas concert is outstanding: he has a fantastic voice and it really shows through as he belts out such classics as Jailhouse Rock, In The Ghetto, and Burning Love: which had everyone up on their feet dancing midway through the final act. However what set this aside from being a caricatured performance is the way Michaels injects some of Presley’s mannerisms and foibles in the performance; it really is a star turn.

Michaels is backed by a 10 piece band who are fantastic, with credit falling at the feet of musical director Steve Geere. The musicianship and talent on display is a treat to behold and in addition, the Las Vegas stage design by Andy Walmsley of bright neon lights, and Presley’s name up in lights add glitz and glamour to proceedings.

Overall, despite a slow start, and some clunky plot points that really could be handled better, this entertaining show providing an insight into some of the demons that blighted Presley’s towards the end of his life, but also an opportunity to remember him for the songs, and the charismatic, captivating performer he was. Elvis fans will love it and for those that aren’t familiar with his music this would be a great place to start. So best dig out the blue suede shoes and white jump suit and head on down to the Palace!

This Is Elvis is on at the Palace Theatre Manchester until 16th June tickets can be found here.

Interview | The Charlatans | North By Northwich

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By Matt Forrest

If you were to retell the story of The Charlatans, it would rival that of any of the great tragic musicals.  They formed in 1988 and have seen a career with a great deal of incredible highs and crushing lows: sell out tours, 13 albums, several of which went to number 1. Then there’s a story of heartbreak with the tragic passing of founding members Rob Collins and Jon Brookes, and this just scratches the surface. It would be fair to say that the band has faced adversity on several occasions and still managed to not just keep going but stay fresh and relevant.

One area the band have excelled in is there unique approach to self-promotion. Lead singer Tim Burgess is a constant force on Twitter, interacting with fans, holding album parties and hosting competitions and give-aways. Then of course there are the special events hosted by the band. Last year they took over Manchester’s Oldham St and the Lowry Theatre to promote their critically acclaimed album Different Days. This time around they have gone one better rather than a street, the band have taken over an entire town that being Northwich, their very own home town. North by Northwich will see the band play 4 intimate gigs, as well several other events that include: an exhibition of Charlatans memorabilia, various Q & A sessions with Tim Burgess and Gary Neville, in addition there are performances from Galleon Blast and Slow Readers Club.

Today we popped along to a unique opportunity to interview the band where we had 4 minutes 4 seconds, or the length of North Country Boy in which to have a chat.  With the smell of chips in the air, as the event took place at local Northwich fish and chip shop, The Seafarer, it was our chance to see what this event was all about.

First up was keyboardist Tony Rogers.

Opening Night: How are things? Are you enjoying the delights of sunny Northwich?

Tony Rogers: It’s brilliant – a bit like a holiday! Just wandering around, the sun’s out, you get to do what you love in the evening and then get to wander around in the sunshine. A bit like going away for Easter.

ON: Well you certainly brought the weather with you.

TR: Thanks, yeah I hope it stays.

ON: So how much planning goes into an event like this?

TR: An awful lot of planning has gone into this, and I’ve got to be honest I haven’t done any of it! (Laughs)

ON: So, you just turned up to take the credit (laughs)?

TR: Tim (Burgess) and Nick Frasier, you’ve got to give them all the credit and praise because they have done everything from start to finish. I mean, all I’ve done is give them a few bits and pieces for the exhibition, rehearsed a few songs and got some things in order, and that’s it. It’s been easy for me! Hats off to the lads, they’ve done a really good job of it.

ON: It seems each year the band are doing something fresh and unique to promote themselves: Last year the Oldham St take over (Manchester) and now this.

TR: I think when you have been going for as long as we have, (laughs), you find new ways and I think it’s down to the bands to find new ways to promote themselves because record companies are limited. You need them and they’re a necessary evil, but they kind of have a set way of doing things. Record companies use other people’s ideas on their artists and acts. We have always been looking at different ways to promote ourselves. I don’t think we’re a band, which would let them (sic) make all the decisions, because we’ve been going long enough to know what’s needed to be done.

ON: It’s not just a Charlatans gig. This is a mini festival, so what are you looking forward to seeing?

TR: To be honest with you, I’m just looking forward to wandering around and seeing other bands and things like that, but mostly I’m looking forward to playing live, that’s my thing. But I’ll make it to the Salty Dog (a pub in Northwich which is part of the festival) and a few other places.

ON: So, you’re doing 4 nights, with the promise of Thursday and Friday nights having completely different sets. How have you chosen which songs you’re going to play?

TR: We have our usual favourites, and then the first we are going to add in is two new songs. The new EP, Totally Eclipsing had its first play yesterday.

ON: Which is fantastic by the way.

TR: Thank you. Then we had a few requests throughout the years to play some songs that we’ve never ever played.

ON: Would it be too late to get one in? (Laughs)

TR: Not at all. So, there are songs from the very beginning, right through to the latest, so it’s a big mixture really and we’ll just jumble it up each night and add new ones, take older ones out and that’s it. There are a lot of songs; 32 songs we’ve got down to play. So, it’s easy to chose 19 or 20 songs for a set.

ON: What is your favourite to play?

TR: We’re doing I Never Want an Easy Life If Me and He Were Ever to Get There, and I’m loving that.

ON: Well I’m seeing you tomorrow, so I hope you do that.

TR: Good man, I hope we do it for you.

ON: Cheers Tony, it was nice talking to you.

TR: You too.

Immediately after my 4 minutes were up with Tony Rogers, it was on to bass player Martin Blunt.

Opening Night: So, what’s it like to be back home for a week full of gigs?

Martin Blunt: It’s good. I moved here in 1991 and left last year, so I had 26, 27 years living in Northwich – I thoroughly enjoy it.

ON: A great deal of planning has gone into this event. How much of this have you been involved with?

MB: Just the gigs and the exhibition. What happened was, we had the idea back in February to do the 4 shows, and then before you know it other events started to get connected with it and before you know it there’s another 4 venues, some new bands and some older bands. It sort of took on a life of its own.

ON: There’s so much going on, is there anything you’re looking forward to seeing other than your gigs?

MB: My dj-ing on Wednesday.

ON: Well I was going to bring that up. I caught your DJ set at the Lowry, when you did the Oldham St take over, some banging tunes in that.

MB: Cheers, thank you

ON: What tunes doing you like throwing in?

MB: Well you know, you put a few classics in there, and then you put some other good shit around it. (Laughs)

ON: You’re doing 4 nights here, and 2 of the nights you’re doing different sets.

MB: Well saying that Monday and Wednesday, we’re gonna mix it up: it’s The Charlatans juke box over the next 4 concerts.

ON: How do you pick which songs you want to throw in?

MB: By democracy, we talk about it for half hour then I get to choose the songs.

ON (Laughs) So when I found out I was doing this, I thought I’d try something a bit different. So, I asked my girlfriend (who is a school teacher) to ask some of her kids for some questions. They came up with the best question which is, what is like to be a rock star?

MB: You get an extra half hour in bed!

ON: (Laughs) ha ha they’ll love that. Another question they asked was how many instruments do you own?

MB: I used to own quite a lot and then I got divorced, so a lot of those got sold on. I’ve got about 12 basses, I think Mark Collins has got about 34 guitars, but you can only play one at a time can’t you, unless it’s a double neck.

ON: So, the memorabilia for the exhibition, how much is the band’s and how much is fan donation?

MB: There has been some fan donation, but at our studio, Big Mushroom, there was always a far-flung corner, where over the years we used to put some stuff there that’s never really seen the light of day. So, we thought it’s about time it did see the light of day, and then after this it will probably get flung back in the corner of the studio for another 10 years!

ON: I noticed Gary Neville seems to be doing a lot of stuff with the band.

MB: He’s just our stalker. No, its good Gary’s doing that, with all the profits going to the local hospice St Luke’s so fair do’s to the guy.

ON: Have you got any favourite songs you like to play?

MB: We played Bullet Comes and Easy Life on  Monday, which sounded really good.

ON: I’m coming tomorrow night and noticed Forever on the set from last night so hoping for that Wednesday.

MB: Sorry Matt think you’re gonna be disappointed, you should have come Monday.

ON: Fair enough, just made up to have a ticket. Pleasure meeting you.

MB: No problem cheers Matt.

After that it should have been my turn with lead singer Tim Burgess, but like some speed dating events time was against us and I didn’t get my 4 minutes 4 seconds with the mastermind of this unique festival. Just a few complimentary words, a quick picture for the photo album and rather interestingly, I was asked to take part in a documentary about the event. Here’s hoping I don’t get left on the cutting room floor.

For 10 days at least, this sleepy town in the heart of Cheshire is the place to be: even if you don’t have a ticket for one of the four Charlatans gigs there is so much going on that it would be well worth a visit. I finish my day off with a trip to the exhibition and finally a trip to Sprosten Green, because like many a Charlatans gig it was the perfect way to finish!

http://www.thecharlatans.net/

https://dice.fm/search?query=northwich

Interview | Richard Fleeshman | The Last Ship

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Having started his career at age 12 on the cobbles of Coronation Street, Richard Fleeshman has gone from strength to strength, moving into musical theatre and quickly establishing himself as one of the most in demand actors in the country.

Fleeshman’s latest role which brings him to the Lowry in July sees him perform in Sting’s self-penned musical, The Last Ship. Inspired by Sting’s own childhood as well as his 1991 album The Soul Cages, The Last Ship focuses on a community amidst the dying days of the shipbuilding industry in Tyne and Wear. Fleeshman takes on the role of Gideon, a sailor by trade who returns home 17 years after turning his back on his hometown to become a sailor. He returns to reconnect with a lost love, however tensions soon rise as the once proud town he left is in demise and life for the girl he loved has changed dramatically.

“It’s based in what was a real working shipyard, the Swan Hunter shipyard.” Richard Fleesham explains. “I play Gideon Fletcher who was expected to follow in his Father’s footsteps and go working in the yard but he decides that life is not for him, I suppose similar to Sting really, so he joins the navy and heads off to sea, returning 17 years later when he returns to find the place he left behind is very different to the one he has returned to.”

The Last Ship originally made its premiere in Chicago in 2014 ahead of opening on Broadway where it was nominated for two Tony Awards for Best Original Score and Best Orchestrations. Since Sting brought the show to the UK it’s had a new book from director Lorne Campbell as well as the addition of new songs. The focus too has shifted to concentrate much more on the political aspects of the story. “Audience responses have been amazing, I was confident that audiences would enjoy the show as the story is fantastic and the music is beautiful but it’s been lovely to see just how much it’s resonated with audiences. At its heart it’s a story about people, about people being repressed and how they respond to that. As a company we get a real rush of energy from the audience, it’s a very powerful story and it’s clearly affecting people and moving audiences which is fantastic to see from up on stage, we’ve had standing ovations every night so far which is just incredible.”

Fleeshman having starred in both the West End and Broadway productions of Ghost, the Musical, came close to taking a break from musical theatre before hearing about the opportunity to audition for the role, “I’d actually decided before taking this role that I needed a break from eight shows a week and then literally an hour after having that conversation with my agent she called me back and said ‘Look I know what you said about having a break from musical theatre but….Sting…’ as soon as I heard that I said, scrap everything I said!”

Fleeshman was incredibly nervous when he first auditioned for the role knowing Sting was going to be present but has nothing but praise for the award-winning musician. “It’s been so fantastic working with Sting, he is one of the most humble, gracious guys you could wish to meet then you add onto that his unbelievable talent and passion for this project, it really is unbelievable.”

While Fleeshman may not relate to events that have happened in Gideon’s life he certainly relates to the draw of family and a love for his hometown, “In terms of his pride at the end of the show in the town that made him I can fully relate to that, I still go back to Manchester every month, my family are there, my best friends are there, I feel proud of Manchester every single day.”

With Fleeshman deciding he needed a break from musical theatre we wondered what it was that was so special about The Last Ship which made him change his mind, “One of the things that drew me to this show was that it’s a play that has incredible music rather than a musical, there are long periods of time, sometimes 7-8 minute scenes with just dialogue, there’s no underscore, nothing just dialogue so from an acting point of view you get the best of both worlds. The freedom you’re granted when doing a straight play mixed in with the joy of having a full band and full ensemble singing, that’s one of the things I love the most about it.”

As the Last Ship is due to dock at The Lowry in July we asked what audiences can expect from the large scale production. “At its heart it’s a brilliant, gritty story about people, about pride and about resilience. Audience responses have been amazing, I was confident that audiences would enjoy the show as the story is fantastic and the music is beautiful but it’s been incredible to see just how much the audiences have related to and enjoyed the show, I absolutely can’t wait to bring the show to the Lowry, it will be really special.

The Last Ship opens at The Lowry on Tuesday 3rd July and runs until Saturday 7th July tickets available here.

Liza Pulman sings Streisand

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Liza sings Streisand The Regent Christchurch Sunday 15th October 2017

Liverpool Philharmonic Hall will play host to a unique collaboration of one of the finest voices and one of the finest brass bands in the UK on Sunday 29th April. Acclaimed singer, comedienne and one third of the satirical and much-loved comedy trio Fascinating Aida, Liza Pulman takes to the stage to sing Streisand with her band alongside the world-famous Brighouse & Rastrick Band.

Liza’s 18 date UK tour pays homage to the great Barbra Streisand, one of the finest singers of all time and for 2 dates only (including Liverpool) she collaborates with the very special Brighouse & Rastrick Band. Liza’s mother, the actress Barbra Young was born in Brighouse and Liza travelled to the town to record with the band in their famous bandroom.

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Liza Pulman said “I am so excited to bring this very special evening of entertainment to the beautiful Liverpool Philharmonic Hall, which I have played in many times before. This concert is going to mean a lot to me, not only for my love of Barbara Streisand, but also to perform with this world-famous band. Liverpool audiences are in for a very special treat.”

Tickets for this critically-acclaimed show can be found here.

The Rat Pack – Live From Las Vegas

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THE RAT PACK - LIVE FROM LAS VEGAS 4 Garrett Phillips (Frank Sinatra) Nigel Casey (Dean Martin) Photo Betty Zapata

Opening Night verdict ⭐️⭐️⭐️1/2

Reviewed by Matt Forrest

The last time I witnessed a Frank Sinatra tribute act was on a boozy night at the Edinburgh Fringe: it was an unorthodox interpretation of Ol’ Blue Eyes as on that occasion Sinatra had been crossed with Adolf Hitler, to give us Frank Sanazi… not the normal interpretation you’re used to seeing but one that left a lasting impression, believe you me. With that in mind, The Rat Pak – Live from Las Vegas would have to go along away to leave its mark, and by and large it succeeds.

The premise is a simple one: a recreation of the legendary Rat Pack shows from The Sand Hotel. In addition to Sinatra, we have Dean Martin (Nigel Casey) and Sammy Davis Junior (David Hayes). However to ensure that this isn’t an all ‘boys club’, we have the addition of the fictional Burrelli Sisters, (Amelia Adams-Pearce, Rebecca Parker, and Joanna Walters) and the welcome addition of The First Lady of Song Ella Fitzgerald (Nicola Emmanuel).

THE RAT PACK - LIVE FROM LAS VEGAS 2 Garrett Phillips (Frank Sinatra) Photo Betty Zapata

Opening with a cheeky dig at Sinatra’s alleged links to organised crime, we are introduced to Matthew Freeman and his 12 piece band, followed by Garret Philips as Sinatra. Instantly you can’t help but notice how Philips not only sounds like but also looks like him. Opening with versions of several Sinatra standards which include I’ve Got You Under My Skin and Goody Goody, Philips is in fine voice and commands every inch of the stage. What struck me was how clinical and cold his performance was, and I mean that as compliment because throughout the evening we see his persona begin to thaw as he begins to interact with his fellow ‘rat-packers’ and get into the swing of things, reminiscent of some of the concert footage I have seen of Sinatra.

Throughout the show, the cast all get their moment in the spotlight: Hayes does a remarkable job of Mr Bojangles, which drew audible approval from the audience, whilst Casey’s introduction as Martin adds some needed mirth and merriment to proceedings with a suitably laid back version of That’s Amore.

Both Hayes and Casey have difficult tasks for two different reasons: Hayes has to try and capture the energy and spirit of Davis Junior, whilst Casey has to embody the seemingly shambolic, slapstick side of Martin. Both achieve this perfectly, especially Casey who never fails to raise a smile every time he arrives on stage.

THE RAT PACK - LIVE FROM LAS VEGAS 3 David Hayes (Sammy Davis Jr) Photo Betty Zapata

Following the interval the show certainly takes a lighter turn, with more focus on humour and variety as the ‘rat pack’ boys perform duets with one another, as well as pull pranks and lark about. One area in which the show does have a few issues is that some of the humour, despite being of that time is certainly outdated: it could be argued that if you are going bring these shows to life then some of these childish, slightly racist and sexist ‘quips’ are needed, however the show would benefit if it found a different way of projecting humour into the show.

We are soon introduced to Emmanuel, as Fitzgerald who raised the roof off the Opera House with a fantastic rendition of Night and Day, followed up by a glorious rendition of The Lady Is A Tramp. Emmanuel has a cracking voice and certainly lights up the stage. The only real complaint I have is that more could have been made of her part in the show.

The show concludes with all the cast belting out Mack The Knife which is fabulous, somewhat inevitably it is left to Phillips to have the final world with a spine tingling version of My Way, which brings the house down and has everyone on their feet.

Overall a fun and hugely entertaining night out which will have you tapping your feet and clicking your fingers; alas upon leaving the theatre I wasn’t stepping out into the hot Las Vegas heat, but the cold Manchester air.

The Rat Pack-Live From Las Vegas is on at Manchester Opera House until 24th February, tickets available here.

 

Thriller Live

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Thriller cast production shots

Opening Night Verdict ⭐️⭐️⭐️⭐️

Reviewed by Francesca Eagleton

The Thriller Live tour has moonwalked into Manchester, as it brought it’s all singing, all dancing soulful show back to the Palace Theatre.

You’d be wrong to think that Thriller Live is a biographical musical of Michael Jackson’s Life. Whilst there is potential for that to happen one day, director and choreographer Gary Lloyd very much focuses this show on Jackson’s iconic music and dance moves.

The lead vocalist and resident director, Britt Quentin proves that he’s certainly more than just a VERY uncanny lookalike to the great king of pop. From the outset, Quentin has his performance perfected, from pulling off the signature moonwalk to Jackson’s famous anti-gravity lean.

Thriller cast production shots

Thriller cast production shots

It doesn’t matter if you’re Black or White, or male or female in this case. Quentin is joined by five talented vocalists who perform some of Jackson’s classics including: Who’s Loving You, Smooth Criminal and Bad to name just a few.

Notably, amongst the performers Rory Taylor gives a chilling rendition of She’s Out Of My Life and Adriana Louise brings girl power to the show. As the only female vocalist, she proves that her vocals are just as powerful as the men’s, whilst providing pitch perfect harmonies and unique renditions to classics such as I Just Can’t Stop Loving You and Blame It On The Boogie.

Although, there isn’t a specific storyline the show begins in the Jackson 5 era with a set of Motown classics: I’ll Be There, I Want You Back and ABC performed by the incredible Ina Seido. This was quickly followed by Jackson’s 1972 hit Rockin’ Robin, but instead of being performed by a ‘younger Michael Jackson’ as it notably is in the West End version, there was a video clip of a young performer dancing and miming to the song displayed on a screen instead. This seemed a little out of place and dropped the energy of the show, as previous songs and the ones which followed were performed by live vocalists.

The cast is complete by a sensational group of dancers, who provide the energetic atmosphere that the show thrives from. They work tirelessly through every dance number without losing enthusiasm. A special mention must go to self taught dancer Antony Morgan, who brought humour and personality to various scenes throughout the show – notably during Adriana Louise’s seamless rendition of The Way You Make Me Feel.

Thriller cast production shots

It was expected that the cast would be receiving a standing ovation at the end of their opening night in Manchester. But the eagerly anticipated crowd were ahead of that game, as the opening of Jacksons 1982 hit Billie Jean began to play, the audience were straight up on their feet and dancing in the aisles for the remainder of the show.

Overall, Thriller Live feels very much like a concert rather than a musical, from the iconic set list to re-enactments of Jackson’s music videos.

But one thing’s for certain, you’ll leave singing, dancing and Shaking Your Body (Down to the Ground).

You’d have to be a Smooth Criminal to miss this Thriller of a show (sorry we couldn’t resist).

Thriller Live continues at the Palace Theatre until Saturday 24th February. For tickets and more information click here.

 

Brief Encounter

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Opening Night Verdict ⭐️⭐️⭐️⭐️⭐️

Widely hailed as one of the most romantic love stories of all time, Emma Rice’s Brief Encounter is a thrilling and visually stunning interpretation of the classic tale of forbidden love.

Taking inspiration from Still Life, the short play by Noël Coward which later became David Lean’s 1945 film Brief Encounter, the production offers more depth to the characters surrounding central lovers Alec (Jim Sturgeon ) and Laura (Isabel Pollen ) providing an opportunity to add multiple layers including a sharp injection of humour, music and dance, which takes this audience favourite to the next level.

Innovative director Emma Rice takes the best elements of both the play and the screenplay as she delivers a faithful and fresh take on the story of two middleclass married people who catch a glimpse of what could be should they dare to leap out of their predictable lives.

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Upon entering the Lowry’s Lyric theatre, cast members mill about, dressed as 1930’s cinema ushers playing various instruments and singing harmonious ditties offering an instant glimpse into the musicality and originality of Emma Rice’s production and sending a clear message to the audience that we’re in for something a little different.

Multimedia elements are wonderfully woven into the exhilarating onstage action as the story of star-crossed lovers Laura and Alec unfolds. There is playfulness and passion as the tragedy of Laura and Alec’s forbidden love is interspersed with the comedy and joyful silliness of the two additional love stories within the production. Beverly Rudd and Jos Slovick as Beryl and Stanley deliver a perfectly judged interpretation of puppy love, all giggles, blushes and charming light-heartedness, Rudd providing a gorgeous version of Mad About The Boy while Slovick serenades his sweetheart throughout with his melodic observations on romance. Lucy Thackeray and Dean Nolan as Mrs Bagot and Albert are a delight, knowingly coy and completely hilarious, with the most impressively physical reprisal of Noël Coward’s I am no good at love you’re ever likely to see, sharp, witty and near acrobatic in delivery.

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Being a Kneehigh production the physical theatre element is second to none, perfectly judged it offers light in the shade of the heart-breaking love story which continues apace. The angst of Alec and Laura’s attempts to control their passion for each other is contrasted beautifully with the elation they experience when together which further adds to the intensity of their scenes together, the on stage chemistry between Sturgeon and Pollen is a joy to watch as love blossoms from their initial innocent meeting at the station.

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Designer Neil Murray, lightening designer Malcolm Rippeth and Sound Designer Simon Baker have worked in harmony to create something truly special as they manage to achieve the most striking of cinematic feels to this inventive production.

Innovative, deeply moving and impressively staged, Brief Encounter brings glorious technicolour to this most iconic of love stories.

On at The Lowry until Saturday 24th February here.

Interview | Beverly Rudd | Brief Encounter

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Not only have we been lucky enough to see Kneehigh Theatre’s stunning production of Brief Encounter ahead of its arrival at the Lowry but we also got to chat with the enormously talented Beverly Rudd who takes on an incredible five roles in this inspired production which has been thrilling audiences at the Birmingham Rep since opening on 2nd February.

Telling the story of star-crossed lovers Laura and Alec, Brief Encounter is a thrilling and visually stunning interpretation of the classic forbidden love story many of us know so well. Lowry audiences get the honour of seeing the show which opens on 20th February before it heads to London’s West End for the summer.

Based on the play ‘Still Life’ from which the much-loved film was developed, the production delivers more depth to the characters surrounding the central lovers offering an opportunity to add multiple layers including a sharp injection of humour. With three love stories rather than just the one each of the cast bring different elements to the piece, Beverly Rudd explained, “There is young love, which is exciting puppy love, also a couple older in years who are finding love for a second time alongside the well-known forbidden love story. They are all totally different, the tragedy of the forbidden love works really well with the comedy of the other love stories, something director Emma Rice does really well, she cuts through really serious moments by adding in great humour, because the story is so intense between Laura and Alec the lightness works brilliantly well.”

In discussing her various roles Beverly explained to us that out of the five parts she gets to play, Beryl is her absolute favourite, “She’s just brilliant, all of them are fun but Beryl has so much to do and gets to sing Mad About The Boy, she’s daft as a brush, it’s really lovely to play someone who is so much fun, silly and giggly.”

In delivering such an iconic film we asked Beverly if the cast felt any pressure? “Yes, but the show is so perfectly constructed that we can’t really go wrong, the production is so brave in its choices, I just love how it is so strong in its direction and identity, I’ve never know anyone not like this show, it’s so perfectly structured it’s got something for everybody.”

Brief Encounter heads to the Lowry after it’s Birmingham run, offering audiences a chance to see the show which has received five star reviews across the board. After this the production head’s to London’s West End with previews at the Empire Cinema beginning on 2nd March. Beverly explained how touring ahead of a West End run is of great benefit to the cast. “This is my third Kneehigh show now and with these type of shows, because they’re so absorbing it takes a lot of work to get the show bedded in, there’s so many quick changes and it takes time to get it right so it’s wonderful to know that what is a great show becomes a perfect show, the show has been in a really good place from the start so it’s really nice to have that time to gel together and experience different audiences ahead of heading to London.”

The show has a real cinematic element which is evident right from the start; “The opening sequence of the show is set within a cinema, there’s a huge screen presenting the show and we’re all dressed as ushers and we’re in the audience before the show starts with Laura and Alec sat in old fashioned cinema seats as the front of the audience, so the show actually starts in the audience and then Laura walks through the screen and appears on the screen. We try and not pull too much focus to them as we’re all singing and playing instruments around the auditorium, it’s nicer if it comes as a surprise to the audience when Laura gets up and the show starts, it’s something the audience just aren’t expecting”

Having performed at the Lowry previously in the first tour of Brief Encounter as well as in Victoria Wood’s enormously successful Acorn Antiques, Beverly is looking forward to taking to the stage on February 20th, “It’s such a gem of a show, it’s really beautiful and clever and I think really surprises audiences who perhaps think they’re coming to see something quite serious. I immediately break the fourth wall with the audience at the beginning of the show which for me feels really nice and lets the audience know they can come with you and experience the joy of the show, it really is something special.”

Brief Encounter on at the Lowry from Tuesday 20th February until Saturday 24th tickets available here. from £16-£35

Dancing Bear

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Dancing Bear 1 credit Matt Tullett

Opening Night Verdict

As part of the Queer Contact Festival 2018, Jamie Fletcher & Company and Contact bring their dramatized musical, Dancing Bear to Manchester’s Palace theatre for two nights ahead of further dates at the West Yorkshire Playhouse in April.

Conceived by director/musician Jamie Fletcher and writer/musician Beccy Owen, Dancing Bear is an unflinchingly provocative piece of theatre which examines the navigation of daily life for many LGBTQ+ individuals while focussing on their individual challenges and fight for inclusivity, acceptance and a sense of spiritual peace in whatever forms that may take.

Each member of the company is given time and space to deliver their story, ensuring from the start we see each person as an entirely unique and special being. Stories are shared, some happy some painfully sad, offering an opportunity to reflect and consider our own views and experiences. A wonderful addition to the show is the inclusion of Katie, a BSL Interpreter who is wholly part of the company and who testifies like each other cast member.

Dancing Bear 2 credit Matt Tullett

The honest and personal testimonies are interwoven with an inspired piece of poetry in which we see the Dancing Bear move through various animal communities in a bid to find his people after being banished by his family; he yearns for somewhere he feels safe, loved, accepted and free to be the person he knows he truly is inside.

Whilst the show implores you to question and explore it also entertains enormously, with superb original songs and powerful contemporary dance in addition to the real-life stories, there is a wonderful cabaret vibe to the production. There is no preaching, nor pushing of an agenda other than delivering a message illustrating the importance of love and acceptance. The glorious array of individuals on stage wonderfully demonstrates our strength as individuals lies in acceptance and the grace to embrace difference in all its forms. In exploring faith it becomes wonderfully clear that to each individual God can be exactly what they want God to be, a powerful being in which faith can be placed. Poignant, provocative and an opportunity to find our own inner peace & spirituality on our own terms, conclusions need not be drawn as we celebrate the uniqueness of each other.

On at the Palace theatre 8pm this evening tickets can be found here.