Musical Theatre

Spring Awakening

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Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Since the announcement in November that award-winning creative pairing Hope Mill Theatre and Aria Entertainment would be staging a revival of acclaimed Broadway hit Spring Awakening, interest was pricked and momentum has quickly gathered. The additional news that both DEM Productions and director Luke Sheppard (In The Heights, Working and Jersey Boys) were also on board has cemented Spring Awakening as Hope Mill Theatre’s most highly anticipated show to date.

Both exhilarating and touchingly poetic, Spring Awakening is an in your face, provocative and exquisitely beautiful production. With music by Duncan Sheik and lyrics by Steven Sater the story follows a group of teenagers in 19th Century Germany on a voyage of sexual discovery in a world where communication and education from the adults who should be guiding them is none existent. In fact almost all adults in the story play a significant part in damaging the teenagers in this thrilling, adrenaline-charged and deeply moving piece.

Whilst the story may be set in 19th-century Germany, award-winning director Luke Sheppard’s characters speak and sing in 21st-century Mancunian accents, which makes the angst and frustration all the more real adding a cheeky humour to the sharp script.

As gut-wrenching tragedies unfold the ingenious way in which they’re delivered offers delicious moments of escapism and fantasy before we’re snapped back into the grim reality of this firmly censored and deeply troubled world.

Darragh Cowley making his professional debut is exceptional as the head-strong, charismatic rebel Melchior. He commands attention every minute he is on stage, seizing each moment with enthusiasm, commitment and confidence. Enigmatic and immensely likeable, the soon to be Guildford School of Acting graduate secures himself undoubtedly as one to watch.

Nikita Johal makes for the most sublime Wendla, she evokes both strength and honest vulnerability while her innocent queries on the origins of babies acts as the catalyst for the key events within the production. With stunning pin-sharp vocals and a brave innocence she carries you along on her journey of self-discovery with fluidity and conviction.

Jabez Sykes gives the most heartbreaking performance as the intense and emotionally pressured Moritz, stuck in the most helpless of places his desperate acceptance during Don’t Do Sadness/Blue Wind is perfectly judged and achingly brilliant.

The architecture of Hope Mill theatre offers the perfect backdrop for Gabriella Slade’s stunning set, the effect when paired with Nic Farman’s intensely atmospheric lighting design is quite simply spectacular, culminating in an immersive and unforgettable theatrical experience.

Tom Jackson Greaves’ choreography is slick and innovative performed to precise perfection by the sensational ensemble cast whose electric delivery of Totally Fucked fizzes with defiant joy, screaming to be watched again and again. There is so much talent in this one cast, every performance packed with power and passion.

Sharp-edged, visually stunning and intensely beautiful Spring Awakening is a one of a kind musical that should be seen all the year through.

Unashamedly bold and dynamically brilliant, with phenomenal storytelling & an unforgettable score Spring Awakening is another sure fire hit which screams London transfer.

On at Hope Mill Theatre until 3rd May tickets available here.

Hairspray

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Hairspray-2017-3

Opening Night verdict ⭐️⭐️⭐️⭐️

Ever popular audience favourite Hairspray burst into Manchester last night for a fun, feisty and feel-good two week stop at the city’s Opera House theatre.

Multi-coloured and multi-layered this is an uplifting and vibrant production with a serious and important message at its heart. Based on the 1988 John Waters film, Hairspray follows Baltimore teenager, Tracy Turnblad’s dream to dance on The Corny Collins Show. Tracy isn’t as conventionally looking as the show’s usual crew and faces an uphill battle from the start. What begins as a burning ambition to win a role on her favourite teen show soon becomes a campaign for social change which sees Tracy crusade to promote racial integration as she battles not only bigots but body shamers too.

Hairspray-2017

Newcomer Rebecca Mendoza makes her professional debut and as the bright, bold and beautiful Tracy Turnblad with a big voice and personality to match her buoyant bouffant she perfectly embodies the impassioned teen. Her comedic acting really raises her performance from excellent to exceptional and she puff and pants to perfection every time teen idol Link Larkin (Edward Chitticks) comes near.

Annalise Liard-Bailey smashes her professional debut as Penny Pingleton, the stunning pairing of Liard-Bailey and Layton Williams being a real highlight of the show, Williams shines as Seaweed, ensuring all eyes are upon him as he twists and flips across the stage, both are an absolute joy to watch.

Brenda Edwards returns as the mighty Motormouth Maybelle and raises the roof with her soulful and emotional rendition of I know where I’ve been. While theatre has a job to entertain it also has important role in educating audiences, which Edwards and cast do so with gusto.

Matt Rixton (Edna) and Graham MacDuff (tonight covering the role of Wilbur) solidify their status as audience favourites with each outrageous and hilarious scene, they’re clearly having just as much fun on stage as the audience off stage as they delight and deliver in style.

While it promotes a message of equality and inclusion Hairspray does it with such wit and charm it is anything but preachy. Drew McOnie’s punchy choreography ensures the pace always remains high while Takis’ sets and costumes are bright, blingy and whisk us straight back to the sixties.

With a vibrant and memorable score including numbers such as You Can’t Stop the Beat, Welcome to the Sixities and Good Morning Baltimore Hairspray never fails to entertain as the audience leapt to their feet in approval. Empowering, uplifting and most of all enormously entertaining!

On at the Opera House until Saturday 7th April tickets available here.

Fat Friends the Musical

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Opening Night verdict ⭐️⭐️⭐️⭐️

It’s clear from the moment the curtain raises revealing a row of lycra clad bottoms that writer Kay Mellor’s intention is to deliver belly laughs and plenty of them.

Based loosely on Mellor’s hugely successful TV series which ran from 2000-2005 the show tells the story of lovable Leeds lass Kelly (Jodie Prenger) who despite being a size 20 buys a size 16 wedding dress which she WILL slim into by the time she walks up the aisle to marry nice but dim fiancé Kevin (Andrew Flintoff). An unexpected moment on live TV leaves Kelly committed to a challenge in which shady slimming guru Julia Fleshman (Natasha Hamilton) guarantees the wedding of her dreams if she completes her weight loss challenge whatever the consequences.

Prenger is perfectly cast as lead Kelly, incredibly likeable and entirely believable she brings great warmth and humour to the role portraying the perfect Yorkshire lass who just wants her happy ending. Her comedic timing is impeccable, her voice rich and pure as she puts her heart and soul into Kelly, ensuring the audience fall in love completely with this loveable lass.

Andrew Flintoff’s stage debut is impressive, receiving a roar of approval upon taking the stage he rises to the occasion as hapless Kevin desperate for fiancé Kelly to realise he loves her just the way she is.

Composer Nick Lloyd Webber’s score is uplifting and light, gelling perfectly with Mellor’s witty lyrics and offering some really memorable moments in the show, the ode to Chocolate being a particular stand out moment leaving many an audience member wishing they’d worn their waterproof mascara as tears of laughter roll down smiling faces.

Running alongside the central storyline are several other subplots which add to the depth of the piece and offer their own laugh out loud as well as tender moments too. Natalie Anderson and Jonathan Halliwell charm the audience entirely as Lauren and Paul with their ‘will they won’t they’ dilemma, Lauren being a Jewish Zumba instructor/wedding dress owner and salsa king Paul, a Vicar who can swivel his hips with more gusto than Ricky Martin.

The script is entirely relatable for anyone who has ever been on a diet (and let’s face it that pretty much covers us all). The scenes at the slimming class bring nods of familiarity and whispers of recognition from the audience as weigh-in cards are presented and slimmers de-robe before stepping onto the scales of doom.

The ensemble cast work together wonderfully creating a warm and family like atmosphere. It’s clear from the writing that Kay Mellor has an enormous amount of love for these characters, they are rich and relatable, the dialogue sharp and incredibly witty. Moving from ‘you need to be slim to be happy’ to ‘love who you are’ the message is predictable but nonetheless hugely enjoyable and entirely heart-warming.

Enormously entertaining, chock-full of laughs yet touching and tender, Fat Friends the Musical is a full-fat feast of tip-top fun!

On at the Opera House until Saturday 24th March tickets available here.

The Sound of Music

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Opening Night verdict ⭐️⭐️⭐️⭐️

Manchester’s Palace Theatre well and truly came to life last night as the audience leapt to their feet to give the stars of The Sound of Music, most notably Lucy O’Byrne (Maria) and Megan Llewellyn (Mother Abbess) a well-deserved standing ovation.

Set in Austria in 1938 on the eve of the Anschluss which saw Austria unite with Germany as a country under the Third Reich, the threat of the Nazis is ever presents as we follow the Von Trapp’s from the grandeur of their comfortable beginnings to their daring escape from the Nazis.

Lucy O’Byrne takes on the iconic role made famous by Julie Andrews in the 1965 film with charm and charisma. Gentle and kind but with a steely strong will she faces her fears head on as after being appointed Governess, she gently guides the Von Trapp’s from the limbo of grief after losing their mother to living life to its absolute fullest, all through the medium of song, well this is a musical after all!

O’Byrne’s vocals are faultless, her voice smooth and soothing with beautiful clarity. Her interactions with her fellow cast members particularly the seven Von Trapp children, heart-warming and joyful. She has genuine warmth and succeeds entirely in making the role her own. Instantly likeable she captivates entirely.

The Von Trapp children played by three sets of children throughout the tour are the marching machines the Captain has trained who burst with energy and enthusiasm the minute Maria plays the first chord of Do-Re-Mi. They shine on stage and are a delight to watch. Special mention goes to Katie Shearman who portrays eldest daughter Liesl with real emotion, her duet with Rolf (Jordan Oliver) a real highlight.

Neil McDermott is an aloof and distant Captain Von Trapp who transforms into a loving and generous father, it is a somewhat instant transformation that feels a little forced and awkward, he seems much more comfortable however in Act II and demonstrates real and heart-felt emotion towards his children, his new wife and his beloved Austria.

A real highlight are the sisters of the Abbey, proving that Rodgers and Hammerstein’s melodic score remains as timeless as ever. Their ensemble performances are exquisite with the cherry on the cake being the breathtakingly beautiful performance from Megan Llewellyn who receives one of the biggest cheers of the night at the curtain call. The power and beauty in her voice is awe-inspiring.

From stunning costumes to Gary McCann’s intricate and sweeping set this is a lavish and hugely entertaining production. Featuring classic after classic such as the delightful My Favourite Things, the charming The Lonely Goatherd and the inspiring Climb Ev’ryMountain, The Sound of Music has it all. There are a few numbers which will be unfamiliar to many, mostly those sung by Elsa Schraeder (Kara Lane) and Max Detweiler (Howard Samuels) cut unfortunately from the film but making a very welcome return to this production and adding depth to the characters. Lane and Samuels make for a great duo, bouncing of each other wonderfully in each of their scenes together.

Visually beautiful and packed with powerful performances, The Sound of Music does not disappoint. This heart-warming tale with an important message at its core will entertain both young and old alike, ensuring this classic will easily remain an audience favourite for many, many more years to come. You’ll leave the theatre with a smile on your face and a warmth in your heart.

On at the Palace theatre until Saturday 17th March tickets available here.

Interview | Neil McDermott | The Sound of Music

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Neil McDermott Headshot

Manchester’s Palace Theatre is soon to be alive with the sound of music as Bill Kenwright’s critically acclaimed production heads into town.

The five star production sees Lucy O’Byrne returning to the iconic role of Maria, a performance which led to Lucy being described as “quite possibly the best Maria since Julie Andrews herself” (The Scotsman).  Joining Lucy as Captain Von Trapp will be former EastEnders actor and West End star Neil McDermott.

Neil who was most recently seen in the city as Chief Weasel in the hugely successful The Wind in the Willows is delighted to be joining this production of The Sound of Music which has been receiving rave reviews across the country.

We caught up with Neil ahead of the show’s arrival at the Palace Theatre on Tuesday 13th March to hear a little more about his role, his thoughts on the show and his thoughts on Manchester.

ON – You’re playing Captain Von Trapp who goes on a real journey from when we first meet him compared to the end of the show, is it a fun role to play?

NM – It is a real emotional journey, he’s quite down and depressed at the beginning of the show, he’s lost his wife some time ago and is left to father the seven children and is finding it all very difficult. He’s trying to move on but finding that difficult emotionally and also at the same time there’s a continual threat from the Third Reich taking over Austria which is playing heavy on his mind as well. Maria then comes into the household and spends lots of time with the children and manages to free the Captain from his slumber/depression and they fall in love and he manages to re-find himself. It’s a great role to play as recently I’ve been playing lots of physical roles lots of comedy villains, so to get the opportunity to play the Captain is a great one and one that I was really pleased I was able to do.

ON – Is it more challenging to take on a role that people know well or to create something entirely new?

NM – Both are challenging in different ways, creating something new is a challenge as you want to make sure you create something new, exciting and interesting, creating something people know well you still have to create something new and fresh but I guess you’re dealing with the audience knowing the character from previous productions, perhaps the film or TV series in this case, a role is nothing if you don’t bring your own personality and sense of humour so my job is to tell the story as convincingly and as sensitively as I can with all the skills I possess. It’s a big role and a big challenge.

ON – Will the staging of the production be in keeping with the style of the film?

NM – The staging is beautiful, it’s not exactly like the film as the stage version is different in parts to the film, the stage version actually came before the film version and there are songs in the stage version which aren’t in the film version. There will be differences but you can tell it’s the same show, the show has a wonderful Austrian feel and our designers have really captured that beautifully as it was captured so well in the film too.

ON – The Sound of Music is such a fan favourite, what are your first memories of it?

NM – I actually played the part of Rolf 11 years ago now in the London Palladium version when Connie Fisher played Maria, so that was really my first memories of The Sound of Music; before I auditioned I watched the film then had a year of doing the show.

ON – With so many classic songs in the show are you able to pick a favourite?

NM – The Lonely Goatherd, it’s a song where Maria and the children are having fun, in the stage version they sing it when there’s lots of thunder and lightning outside so they use it as a song to cheer themselves up it’s a really fantastic song.

ON – As a lifelong Evertonian how is it working with Bill Kenwright?

NM – It’s very interesting for me, this was the first time for me auditioning for him and as you do with a Bill Kenwirght show when you get to that last stages you go up to his office and you see all the pictures and memorabilia of all the Everton players and managers, it’s quite something when you’re in that room and I suppose as an Everton fan I was almost more affected by that than I was the show! He’s a great guy and we’ve had lots of great chats about the show and about my character, he’s been really supportive of me, I’ve nothing but positive things to say about him.

ON – Do you have any pre-show rituals?

NM – I always make sure I prepare as well as possible, I make sure I warm up, both physically and vocally, I always keep a bit of ginger around and chew on that to a liven my vocal chords ahead of every performance.

ON – What are you most looking forward to about heading to Manchester?

NM – I’ve performed at the Lowry a couple of times but never at the Palace theatre, I’m really looking forward to it, it’s a beautiful theatre, a huge space. I always have a good time in Manchester, it’s a great city with a lot of great people and a lot of theatrical history, you can sense that when you perform for Manchester audiences, they really know what they are watching and have a good eye for good theatre, it’s a pleasure to perform for the Manchester public

ON – With Manchester being the final stop on the tour are you able to tell us where we can see you next?

Not at the moment, as we come to the end of the tour I’ll be out auditioning again, so there’s nothing I can tell you right now but of course I’m looking for something to do after this show.

On at the Palace Theatre from Tuesday 13th March until Saturday 17th March, tickets available 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.

TEDDY

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Molly Chesworth and George Parker as Josie and Teddy

Josie and Teddy, played by Molly Chesworth and George Parker. Photo by Scott Rylander

Opening Night Verdict: ⭐️⭐️⭐️⭐️⭐️

If Shakespeare did rock ‘n’ rock musicals I’d imagine they would look a lot like Teddy. Penned by award-winning writer and actor Tristan Bernays this new musical is full of lyrical verse (synonymous with Bernays work) bringing melody into the spoken word and not just the songs around them. It’s a genius production as it rethinks the musical genre and takes risks not just with the content (setting the action in a gritty 50s post Blitz East End rather than presenting the era as the sugar coated ‘dreamboats and petticoats’ dialogue we are used to) but also by having just two actors onstage throughout performing a number of different roles.

Teddy

Photo by Scott Rylander

Molly Chesworth plays Josie, a ladette, decked out in her best ‘teddy boy suit’, red lipstick slicked on, ready to tear up London town for a night to remember. Chesworth fizzes with energy from the moment the spotlight shines on her, portraying Josie as a sassy, fired up, passionate East End girl. She is mesmerising to watch and you can’t help but get drawn into her desire to live life to the full, whatever the cost. Equally impressive is George Parker as the aptly named ‘Teddy’ who strives to live up to the subculture ‘teddy boy’ persona of the era. He’s a wide boy with wide eyes for Josie and together the two anti-heroes are like a watered down version of Bonnie & Clyde, willing to risk anything for each other, driven by the excitement and thrill of doing no good.

It’s like witnessing a masterclass in acting from the duo as they morph into a number of different roles during the production. From gangster heavies, to an old fragile pawn shop owner, their physical and vocal characterisation conjures up images in the audiences’ imagination without the need for a costume or set change. In fact, the majority of Max Dorey’s set design is minimal for this reason I imagine, with just the use of some corrugated iron for the backdrop, a ladder which takes the actors up to an upper level and a number of advertising posters from the 50s up on the wall.

Johnny Valentine and the Broken Hearts. Photo by Scott Rylander

Not only will the acting impress you but the onstage live band will get your toes tapping too. Johnny Valentine and the Broken Hearts provide the soundtrack to the musical with a plethora of original songs which suit the mood perfectly and sound like they have just come out of the jukebox. The band gets the party started early on with a short set before Teddy starts and also goes on after the production has finished, resulting in you leaving the theatre wanting to rock ‘n’ roll into the small hours. They are an integral part of the show as Johnny provides the focus as the music idol of our two protagonists as they spend the night trying to get close to him.

Teddy will leave you breathless, not just from watching the vigorous performance on display from the actors (which includes an incredible jive that wouldn’t look out of place on the Strictly dance floor) but also because the dialogue and action is so fast paced it is like taking a ride on a rollercoaster.

So, strap yourself in, get yourself down to The Lowry theatre before the run finishes on 17th Feb, this is one musical you would be a fool to miss!

https://www.thelowry.com/events/teddy

For more tour dates see: http://snapdragonproductions.com/productions/teddy/

 

 

Flashdance

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flashdance-company-credit-brian-hartley-08

Opening Night verdict ⭐️⭐️⭐️⭐️

Reviewed by Francesca Eagleton

Get your legwarmers at the ready because Flashdance The Musical is in full swing at the Palace Theatre this week!

Not even the producers expected Flashdance to be a hit when it was originally released in cinemas in 1983, but, screenwriter, Tom Hedley has successfully taken on the challenge of adapting one of the most successful films of the 80’s for the stage in this all-singing, all-dancing neon extravaganza!

Alex Owens, played by Joanne Clifton of Strictly Come Dancing fame, is a feisty and confident female lead. Working as a welder in a workroom filled with boisterous strong males, she certainly doesn’t fade into the background as she knows how to stand her ground and make a name for herself. She shines in the role and commands the stage at every turn.

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Alex certainly doesn’t lose sight of her dreams of one day joining the Shipley school of dance, despite the potential distraction of falling for love interest Nick Hurley, (played by Ben Adams) and with a little bit of help from her tutor and mother figure Hannah, (Carol Ball) she makes steps to follow her dreams.

It was no surprise that Joanne Clifton’s dancing skills would be a real highlight of the show. Clifton’s stamina is extraordinary, one minute she’s kicking and splitting her way across the stage and the next belting out a ballad without even breaking a sweat. We were tired just watching her! A real triple threat performer.

Ben Adams makes for a hugely charismatic and enormously likeable love interest in the form of Nick, the on stage chemistry between the two is exceptional.

Fans of the original film wont be disappointed, as the show embraces iconic scenes including the infamous scene with Alex, a chain and a whole lot of water. The show also features hits from the original film soundtrack; Maniac and Manhunt – alongside original songs by Robert Cary and Robbie Roth.

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Cramming song after song into this toe-tapping musical forced the plotline, at times, to suffer a little, however fans of the film will know it’s not the deepest of plots. The second half moves the action on swiftly, packed full of high energy and fast paced – everything that we wanted and expected it to be.

Of course the audience aren’t left disappointed, as we finally get that all important audition scene. As the introduction to the title song Flashdance…What A Feeling began to play out, the crowd erupted, clapping and dancing along – earning Clifton and the cast a well deserved standing ovation at the end of the show.

Dig out your lycra  and catch Flashdance the Musical at the Palace Theatre from Monday 12th until Saturday 17th February, tickets available 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.

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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.