Musical Theatre

Nativity! The Musical

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Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Eight years ago back in 2009 Debbie Isitt’s film Nativity! was released and immediately captured the hearts of the nation; it spawned not one but two sequels and has now been followed by a translation to the stage in Nativity! The Musical. The production follows the same storyline many of us know and love as we head to St Bernadette’s Catholic Primary School for their annual nativity.

We begin by meeting three best friends, Paul Maddens (Daniel Boys) Jennifer Lore (SarahEarnshaw) and Gordon Shakespeare (Andy Brady). Jennifer and Gordon have big plans after drama school while Paul is happy to become Mr Maddens at the local primary. Paul and Jennifer fall in love and live happily together until one Christmas Jennifer receives a call from Hollywood and decides to follow her dreams leaving Paul and their dog Cracker behind.

Paul is stuck in a failing school which doesn’t even rank high enough to receive an Ofsted rating while Gordon has progressed to headmaster at the nearby snooty Oakmoor Prep. Oakmoor excels every Christmas with the most extravagant of nativities while St Bernadette’s can’t even muster a one star review, cue head teacher Mrs Bevan (JemmaChurchill) instructing Mr Maddens to lead this year’s nativity with the help of clueless new classroom assistant Mr Poppy (Simon Lipkin). Daniel Boys is exceptional as Mr Maddens, delivering a perfectly judged performance, warm and charismatic yet enormously frustrated with his lot. Boys is endearing and hugely likeable as we see his character soften and develop under the influence of the bonkers but brilliant Mr Poppy.

Sidekick to Boys is Simon Lipkin who is perfectly cast as the brilliant Mr Poppy, a big kid with an even bigger heart, his enthusiasm and energy is infectious. He portrays the lovable Mr Poppy superbly; he is incredibly funny, demonstrating a very natural comedic ability that leaves the audience roaring with laughter every time he takes to the stage, an absolute joy.

Watching the relationship between Mrs Madden and Mr Poppy develop is a tremendously entertaining element of the show, their interactions are incredibly funny as Mr Maddens frustrations at Mr Poppy’s OTT enthusiasm for everything takes its toll, however who could stay mad at Mr Poppy for long? Not us!

Each character is so wonderfully defined from the camp and catty local theatre critic (Jamie Chapman) to the power obsessed Mr Shakespeare (Andy Brady), this is storytelling to perfection, with every cast member an absolute delight to watch. David Woodhead’s set as you would hope is a sparkling spectacular sight, versatile and inventive, beautifully lit by Tim Mitchell.

Of course no nativity would be complete without children and plenty of them and boy do they sparkle and shine! From hilarious auditions for a part in the nativity right through to the finale when they deliver the final and fabulously finished production. The honesty and pure innocence of their performances is an absolute thrill, they are sweet, silly, hilarious and enormously endearing with bucket loads of charm thrown in for extra cute factor.

Nativity strikes the perfect balance between being a real show stopping spectacle and delivering genuinely real, relatable and honest theatre. It’s uplifting, hilariously funny and enormously entertaining. Your heart will be warmed and your funny bone well and truly tickled by this sparkly, joyful, festive treat. The standing ovations will no doubt be repeated night after night as this real gem of a production warms hearts with every performance, my only criticism would be that we only get to have it in Manchester for one week, please Nativity! The Musical, come back soon!

On at the Palace theatre until Sunday 3rd December tickets available here

Elf the Musical

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Elf

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

West End smash hit Elf the Musical arrived at the Lowry this week for a festive six week stint.

Based on the much loved 2003 film with a book by Tony Award winners Thomas Meehan (Annie, The Producers, Hairspray) and Bob Martin (The Drowsy Chaperone) and songs by Tony Award nominees Matthew Sklar and Chad Beguelin (The Wedding Singer), Elf tells the popular tale of Buddy the Elf.

After crawling into Santa’s toy sack as a young orphan boy Buddy finds himself living amongst the elves in the North Pole, with an inability to make toys even half as fast as his fellow workers and being twice the size of every other elf there Buddy realises it’s time to face the truth and admit perhaps he isn’t an elf after all. With Santa’s permission Buddy heads to New York City in a bid to discover his true identity, find his father and hopefully spread some Christmas cheer along the way.

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West End favourite Ben Forster reprises the role he won rave reviews for and it’s clear to see why, he commands the stage with his witty, warm and charismatic take on the loveable Buddy. His confused interactions with the hardened New Yorkers are hilarious and his innocent boisterous wooing of Jovie (Liz McClarnon) is a delight to see. Forster is perfectly cast, he completely makes the role his own, no easy task for such an iconic character made so famous by Will Ferrell. Forster bursts with enthusiasm and Christmas cheer, he entirely captivates with his joyful characterisation, his voice is smooth, strong and pitch perfect.

Forster is joined by a talented cast including Liz McClarnon as love interest Jovie. McClarnon is superb as Christmas pessimist Jovie, with the most beautiful of voices and strong characterisation, Jovie’s ice maiden persona takes some melting, she is witty, sarcastic and the perfect sour to Buddy’s sweet.

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Tim Goodchild’s sets are lavish and impressive, sparky and slick as scenes move effortlessly from one to the next. The additional use of Ian William Galloway’s video design further adds to the wow factor of this big budget production. Sue Simmerling’s costume design is perfection, glitter, sequins, red and green for the North Pole, sharp grey suits for NYC.

The production remains true to the film but is so charming in its storytelling that those who haven’t seen the film (yes they do exist) will thoroughly enjoy the musical regardless. There are the classic lines we would all wish for hilariously delivered, a stunning score with catchy uplifting songs which you’ll be humming for days, the score literally has it all from stand out beautifully choreographed showstoppers to a witty yet moving solo from Jovie (Liz McClarnon).

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Elf is a heart-warming, sparkly, spectacular. The message of love, hope and family is a special one, wonderfully and hilariously delivered. The audible gasps of joy from the audience will warm the coldest of hearts and will ensure you’ll leave the theatre grinning from ear to ear, offering hugs to anyone who will accept one and maybe even a few to those who won’t! Elf delivers the most perfect escapism from the crazy times we’re living in, funny, feel-good and oh so fabulous, a festive treat for all the family.

On at the Lowry until Sunday 7th January tickets available here

Cilla The Musical

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Opening Night verdict ⭐️⭐️⭐️⭐️

Developed from BAFTA award winner Jeff Pope’s critically acclaimed 2014 ITV mini-series starring Sheridan Smith, Cilla the Musical is a new stage biography which tells the story of Liverpool’s most famous red-head, from her early rise to fame to the start of her much celebrated TV career.

Detailing her fierce ambition, the complexities of her relationship with boyfriend then Manager then husband Bobby Willis and the close friendship they both had with troubled Manager Brian Epstein, Cilla is a nostalgic and heart-warming jukebox musical featuring both Cilla’s hits and other fan favourites from the period, including The Beatles, Gerry and the Pacemakers and The Mamma’s and The Pappas. Cast-of-Cilla-The-Musical-Liverpool-Empire-Photo-By-Matt-Martin-004-1Kara Lily Hayworth more than succeeds in stepping into Cilla’s footsteps, having won the role through a tough open audition process, Hayworth belts out showstopper after showstopper with ease and oozes style. With stunning vocals, perfect Cilla like mannerisms and a flawless Scouse accent her performance is superb. When Hayworth closes Act I with Cilla’s 1964 number one hit ‘Anyone Who Had a Heart’ she literally brings the house down, goose-bump inducing brilliance, expertly delivered.

Both Carl Au as Bobby and Andrew Lancel as Brian Epstein are excellently cast. The chemistry between Au and Hayworth as Bobby and Cilla is wonderful; Au adds great depth to the character who many of us knew little about other than him being ‘our Bobby’. Lancel plays tormented and troubled Epstein sensitively, a true gentleman always having time for his acts despite his own personal demons.

Gary McCann’s set is impressive, the Cavern, various recording studios, the London Palladium, and even Cilla’s childhood home, all feature, contained within a series of proscenium arches, expertly lit by Nick Richings. Cilla Cilla the musical has clearly been a labour of love for director Bill Kenwright, offering audiences a charming and nostalgic walk down memory lane, act one for me lingers slightly too long in the Cavern days, although the performances are exceptional (Michael Hawkins as John Lennon is fantastic) the pace becomes a little slow, shaving a couple of the songs from this section wouldn’t be of any detriment to the story and would keep the audience fully engaged for the duration. That said, Cilla the Musical is a fantastically fun show, which at its heart is ultimately a love story, not one love story but several, the love story of Bobby and Cilla, Cilla’s love for the music, Brian’s love for his artist, Brian and Bobby’s at times love/hate relationship with each other and even our love for the Scottie Road girl who rose from rags to riches but always remained true to her Liverpudlian roots.

Cilla the Musical is a celebration, funny, charming and chock-full of superb showstoppers, a hugely entertaining night out and fully deserving of the standing ovation received.

On at the Palace theatre until Saturday 25th November tickets available here.

Little Women

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Opening Night verdict ⭐️⭐️⭐️⭐️

Louisa May Alcott’s much loved classic about the four March sisters growing up in Civil War-era New England has been a literary favourite for almost 150 years now. Seen previously on the big screen, radio plays, TV series and straight theatre plays the March sisters undoubtedly have a place in the hearts of many, this is the first time however the Broadway musical has made its way to European shores as the incredibly successful pairing of Hope Mill Theatreand Aria Entertainment continue their vision to deliver accessible musical theatre in Manchester.

The production offers a condensed take on the heart-warming story of trailblazer Jo and her three sisters, Meg, Beth and Amy March, with Jo at the spirited centre of the piece. With their father off at war and their mothers encouragement to be the best versions of themselves they can be, the sisters set out on their path to becoming ‘little women’.

Amie Giselle-Ward is outstanding as Jo, passionate, strong and always true to herself, Giselle-Ward embodies perfectly the brash and bold Jo Marsh with a raw energy that utterly captivates, fiercely loyal and defiantly proud her characterisation is honest and raw as she delivers an incredibly moving and deeply emotional performance. She fizzes and boils over with a determination to live the life she chooses not one society choses for her, a woman seemingly ahead of her time when the book was first published in 1868 and an absolute heroine to women today.

The ten strong cast are incredibly hard working and beautifully demonstrate the importance and strength of family, love and hope regardless of the situation or difficulties they face. Each of the sisters are perfectly cast, Jemima Watling is superb as Meg, sweet and sensible, with a heart full of love. Katie Marie-Carter makes for a fabulous Amy, spoiled and selfish she is wonderfully dramatic. Cathy Read plays Beth with sweet affection, gentle and kind with a real sincerity she is the calm to Jo’s perfect storm.

Bronagh Lagan’s direction ensures the production remains entirely committed to delivering Louisa May Alcott’s message of love, family and female empowerment with wonderful storytelling throughout.

Ben M Rogers light design gently warms the production, allowing Nik Corrall’s simplistic yet effective set to shine. The intimate setting of Hope Mill Theatre is perfect for this engaging production, giving audiences the most wonderful connection with the characters as Jason Howard’s music and Mindi Dickstein’s lyrics are brought to life by Rickey Long’s superb musical direction.

Little Women is a celebration, joyful, spirited and full of heart. The perfect festive treat for all ages, delivering an important and current message that into each life some rain must fall but never let that diminish the fire within you.

On at Hope Mill Theatre until Saturday 9th December tickets available here

Hope Mill Theatre announces 2018 season!

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Award-winning Hope Mill Theatre and resident producer Aria Entertainment today announce their much anticipated 2018 season, with three bold, exciting and ambitious in-house productions.

The converted mill in Ancoats currently hosting the European premiere of Little Women enjoyed a landmark 2017 season which saw 5* critically acclaimed productions and London transfers for Yank! and Hair with Pippin following in early 2018 will begin the season with the world premiere of new British musical The ToyBoy Diaries (on sale today).

This new musical comedy which runs from 18 January to 10 February 2018 charts the hilarious and sometimes heart-breaking sagas of mid-life dating. When twice-divorced Lily inadvertently finds herself under a much younger man, it opens the door to a wild new world of inappropriate relationships. From Tom the Tender to Sam the Submissive, via Paul the Policeman, Hat Trick Patrick and Matt the Monstrous (with Old Willy and Philandering Phil mixed in along the way) Lily finally finds Ben the Bountiful.

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Spring Awakening will run from 19 March to 3 May 2018. A production hailed as “one of the great musicals of the last decade” (New York Times) and the winner of eight Tony and four Olivier Awards, Spring Awakening follows a group of teenagers in late-19th-century Germany navigating the struggles and virtues of blossoming youth, with an electrifying fusion of morality, sexuality and a Grammy award-winning rock score. This landmark musical will be presented in an intimate and bold new production helmed by director Luke Sheppard (In The Heights, The Secret Diary of Adrian Mole).

Third show to be announced is Andrew Lloyd Webber’s romantic classic Aspects of Love which will run from 5 July to 4 August 2018. Featuring the iconic “Love Changes Everything” Aspects of Love tells the story of passion, love and loss across three generations of a family and their artistic companions, against a background of 1940’s France and Italy.

The hugely successful partnership between Joseph Houston and William Whelton, the co-founders of Hope Mill Theatre and producer Katy Lipson, of Aria Entertainment is further testament to their commitment to make Hope Mill Theatre the home of new musicals and revivals in the north and beyond with two more yet-to-be announced productions in Autumn/Winter.

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William Whelton and Joseph Houston, co-founders of Hope Mill Theatre said: “We wanted to make sure our third season was even more ambitious and we feel we have managed to achieve that with the world premiere of the new British musical The ToyBoy Diaries, an exciting revival of Spring Awakening with an Olivier Award-winning creative team and our first staging of an Andrew Lloyd Webber classic – Aspects of love. Once again we have proved the power of regional theatre and continue to spearhead Hope Mill Theatre as a leading player in new musical staging, musical premieres and exciting revivals.”

Katy Lipson, of Aria Entertainment, who has just seen her production of The Addams Family transfer to Singapore stated “I have enjoyed working with the theatre on taking our shows to new commercial levels in London and am extremely delighted to announce the first three shows of our 2018 season, it is an honour to share this diverse selection of work with you. We hope to continue to champion the genre and bring in audiences from far and wide.”

Further information can be found here

@Hopemilltheatr1

@ToyBoyDiaries

 

Spamalot

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Review by Matthew Forrest 

 The programme states that Spamalot is “lovingly ripped off from the motion picture” of Monty Python and the Holy Grail. Well for my money, this production is doing itself a disservice; if anything it’s enhancing the ‘Python’ legacy and introducing them to a wider audience. 

As a Python fan, you sometimes take it as a given that most people will love them and their work as much as you do. However that’s not always the case, as some people just “don’t get it” or have never seen the Python’s in action before. For die-hard fans like myself, the nay-sayers and the unacquainted, Spamalot is the perfect night out, suitably ridiculous, occasionally bewildering, but always hilarious! 

Following the plot of the film, Spamalot sees King Arthur and his faithful servant Patsy, as they attempt to enlist various brave and not so brave knights to join him at his court in Camelot. It is here that the voice of God or, more accurately Eric Idle, send Arthur and his Knights on a quest to seek out the Holy Grail. 

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As you would expect it’s absolutely bonkers: most of the set-pieces are in there, from The Knights who say Nee and Black Knight: with the welcome addition of a new character in the Lady of Lake. 

The cast are on great form: Bob Harms is excellent as the pompous, self-absorbed King Arthur, Rhys Owens is on equally good form as Patsy, a polar opposite to his master but certainly the brains of the outfit. Sarah Harlington offers a scene stealing turn as the Lady of the Lake, who has an equally inflated opinion of herself, similar to that of King Arthur. 

They are supported by a fantastic, hard-working cast with most taking on multiple roles, who are all given their moments to shine. Standout scenes include Jonathan Tweedie’s Lancelot and his daring rescue of Prince Herbert and the cast’s spectacular Knights of the Round Table routine. 

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Eric Idle, along with John du Prez have come up with catchy and funny tunes that aren’t strictly in keeping with the show. The Song That Goes Like This takes a much-needed swipe at musicals and their big defining tunes, whilst You Won’t Succeed in Showbiz, takes a well-aimed shot at celebrity culture and has been updated with numerous topical references. In addition, there is the über-camp His Name is Lancelot and of course the old faithful Always Look on the Bright Side of Life. However, it’s Sarah Harlington’s vocals on Whatever Happened To My Part? and her duet with Norton James in Lady of the Lake that really bring the house down. Harlington’s voice is phenomenal: so much power blended with her comic timing certainly make you wish her part was that bit bigger. 

Director Daniel Buckroyd has certainly got the best out of his cast, with all involved displaying a gift for comedy, and allowing room for a spot of adlibbing as well.  Some cast members just about managed to told hold it together, which really added to the fun of it all. 

I really can’t fault this wonderful show. It has everything you would want in a musical: silly, uplifting fun, catchy tunes and a sing-a-long, to boot. You really can’t ask for more. Spamalot is currently on a nationwide tour and is well worth catching when it comes to a theatre near you. 

 On at the Manchester Palace Theatre till the 11th November tickets available here

 

 

Flashdance the Musical

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By guest reviewer Casey Nicole Gwilliam

Flashback to the 80’s in this dazzling production of the all time classic, Joanne Clifton dazzles as the feisty Alex, a young apprentice welder with a passion for dance, and a dream to get into the prestigious Shipley School of Dance.

With the help of her old dance teacher Hannah (Carol Ball), Alex prepares for her Shipley audition, as well as falling for the dashingly handsome Nick Hurley (Ben Adams) and having to save the day and set her friend Gloria (Hollie Ann Lowe) straight, she seizes the opportunity and dances her heart out.

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The numbers that were amongst audience favourites included “Maniac” and “Gloria” as well as the crowd pleasing “I Love Rock and Roll” which wowed the audience as the immensely talented ensemble dazzled with their moves demonstrating some  incredible tricks that made the audience wince and then cheer. The entire ensemble gathered together and created an absolutely amazing and retro atmosphere, wowing the audience with their moves and vocals that left even the audience breathless!

The lighting and set along with the extremely vintage costuming hurled the audience into the 80’s along with the perms and pumps. The authentic 80’s feel gave a sense of nostalgia, and was in keeping with the 1983 movie of the same title. Keeping audiences happily entertained.

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Joanne Clifton’s performance stood out as leading lady, Alex. Her husky voice was perfect for the scrappy young dancer and her acting and singing skills were on a par with her dance; proving to be a delightful triple threat. As well as having the audience envy her for pulling off spanks and a sports bra for the majority of the show.

Overall the show makes for an extremely enjoyable evening and was an instant hit with the audience, everybody was up dancing during the finale mega-mix ensuring everyone got a chance to show their moves!

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Flashdance the Musical is on at the Blackpool Opera House until Saturday 4th November, tickets available here http://www.wintergardensblackpool.co.uk/events/flashdance/

Sunset Boulevard

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SUNSET BOULEVARD. Ria Jones 'Norma Desmond'. Photo Manuel Harlan (4)

After firstly workshopping the role of Norma Desmond an incredible 26 years ago Ria Jones finally gets to shine as the leading lady in Leicester Curve’s revival of Andrew Lloyd Webber’s magnificent Sunset Boulevard which opened at Manchester’s Palace theatre last night.

Forgotten screen siren Norma Desmond (Ria Jones) lives a lonely and reclusive life in her mansion up on Sunset Boulevard, the silent movie star is surplus to requirement now that talkies have taken over tinsel town, yet she refuses to believe there could ever be a bigger star than her. She desperately needs a comeback, an opportunity to make people realise she is still a big deal, cue the arrival of penniless screenwriter Joe Gillis (Danny Mac) who stumbles into her fantasy world and becomes seduced by the luxurious lifestyle and the potential ‘masterpiece’ she feels will make them both their fortune and catapult her back where she belongs.

Ria Jones gives the performance of her life as Norma Desmond in this twisted and tragic love story. Her portrayal of the aging actress, clawing onto her past relevance is sublime. One minute she is carefree, laughing, smiling and full of joy the next full of rage as her insecurities suffocate and threaten to consume her. Fragile yet fearless, talented but tragically cast aside by Hollywood, Jones puts every ounce of her being into her performance and is an absolute triumph.

Danny Mac is equally superb as writer Joe Gillis, his desperation to succeed sucks him into Desmond’s fantasy, vocally this is a hugely demanding role and Mac is more than up to the job as he guides us through this tragic tale, rarely off stage he delivers and then some, he is perfectly cast and entirely believable, his voice smooth and strong.

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High praise must also go Molly Lynch as Betty Schaefer and Adam Pearce as Max Von Meyerling, both are superb in their supporting roles making each hugely memorable.

With deliciously dramatic staging, involving Norma Desmond arriving into most scenes via moving platforms or via theatrically winding staircases Sunset Boulevard really is a show of great style and serious quality. Ben Cracknell’s atmospheric lighting is outstanding, illuminating both Colin Richmond’s set and costumes to perfection, Norma Desmond’s costumes especially are delightfully opulent, velvets and silks are lavishly jewelled and feathered, further rubber-stamping the undeniable diva we see on stage.

Accompanied by a sublime sixteen piece orchestra Sunset Boulevard is not to be missed, dramatic, dark and utterly compelling.

★★★★★

On at the Palace theatre until Saturday 4th November book tickets here; http://m.atgtickets.com/shows/sunset-boulevard/palace-theatre-manchester/

Behind the Scenes of Flashdance – The Musical – Part 2 Ben Adams

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As part of out Flashdance The Musical interviews we spoke to Ben Adams who plays Nick Hurley alongside Joanne Clifton as Alex Owens ahead of the show’s opening night this evening  in Blackpool.

Flashdance is associated with one of the most iconic dance scenes ever; will we see you throw some shapes during the show?

Ben: My character isn’t supposed to dance at all, he’s the polar opposite really to Alex the female lead who does a huge amount of dancing, I don’t really get to do any, I don’t think the producers knew that I could dance as there wasn’t anything in the script, although I do throw a few shapes at the end but it’s nothing spectacular compared to the rest of the incredibly talented cast, particularly Joanne Clifton her dancing is fantastic.

ON: The last time we saw you on the stage you were playing Aladdin in Panto, how does appearing in a musical differ to panto?

Ben: It’s very, very different, my character in Flashdance is quite serious, also American, they really are very different art forms, similarly though it’s a lot of fun, I’ve had so much fun doing this show so far, it really is a great role to play.

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ON: How did you become involved in this production?

I’d spent the first sort of six months of this year writing and producing for other artists, but I kind of felt that sitting in a studio writing things for other people to go and have fun with is something I could always do alongside other work and also something I can do as I get older, I feel at the moment I haven’t really got the performing bug out of my system so when Flashdance came along I though yes this is a perfect opportunity to get out there, tour the country and have a bit of fun while doing so.

ON: Sellador are known for their creativity, how have you found working with them?

Selladoor are brilliant, such an incredibly brilliant production company who are doing so well at the moment, the last production I saw of theirs was Little Shop Of Horrors which was absolutely fantastic, so as soon as I realised that Selladoor were doing this I knew it was an absolute no brainer, I knew it was going to be a great show.

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ON: Your new single has been getting plenty of attention, could a new album and maybe a tour be next on the cards?

Before I agreed to do Flashdance I’d already planned to do the album so I’ve actually finished that now and was going to put it out but thought maybe we should postpone it as I don’t have a lot of time to go out and promote it but now so much is done online anyway so you can really reach so many people online and through social/online media so it’s not really a problem, the album is now planned for the beginning of 2018 which I’m really excited about. It’s really nice to see what a great response the single has got as I think a lot of people in my position are maybe pushed into doing more middle of the road stuff, not necessarily tracks that are particularly modern but because I produce my own material I can really do whatever I want to do.

ON: We’ve noticed a bit of activity on twitter from your musical the Eugenius! account, can you give us any spoilers?

I can’t announce anything officially but watch this space for an announcement very, very soon! Make sure you’re following!

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ON: After your experience working with Joanne Clifton would you consider a stint on Strictly?

I actually did Strictly in Norway and I came second which Joanne likes to rub in because obviously she came first, I’m not sure I’d be allowed to do the British one due to already doing a version but I absolutely loved it. It was so much harder than it looks, there were things that I was doing that I thought looked good and then they judges just told me it was all wrong, I quickly had to buck up my ideas and really learn it as best I could. The discipline is unbelievable, it’s very tricky.

Speaking of tricks, you’ll be in Blackpool for Halloween, will you be playing any tricks on your fellow cast members?

Of course! I’m a 35 year old man with a 16 year old mind, so there will be a lot of that I’m sure, I haven’t quite worked out what yet but I’ll absolutely be planning something!

Flashdance opens at the Blackpool Opera House on Monday 23rd October and runs until Saturday 4th November for tickets head to www.wintergardensblackpool.co.uk/events/flashdance/

 

 

Interview – Sunset Boulevard’s Ria Jones

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SUNSET BOULEVARD. Ria Jones 'Norma Desmond'. Photo Manuel Harlan SMALL

Andrew Lloyd Webber’s award-winning Sunset Boulevard opens at the Palace theatre next week starring Ria Jones, who received standing ovations every night when performing the role of Norma Desmond at the London Coliseum, joining Ria is Strictly Come Dancing‘s Danny Mac as Joe Gillis, in this compelling story of romance and obsession.

We chatted to Ria Jones ahead of the show opening at Manchester’s Palace theatre on Monday and discovered more about the show that critics have described as a masterpiece.

Opening Night (ON):You have a real history with Sunset Boulevard, where did your involvement first begin?

Ria: Well I first workshopped Sunset Boulevard 26 years ago at Andrew Lloyd Webbers home in Sydmonton where he workshops all his new shows, it’s in a beautiful converted chapel, so whenever he writes a new show he invites family , friends, agents, producers to come and see the piece and then discuss it afterwards, I was 24 at the time so I know I was way too young then to play Norma Desmond so I joked with him and said ‘Maybe one day I’ll do the revival’ then fast forward all those years and there I was stepping in for Glenn Close, very surreal.

ON: What is it about Norma Desmond that you love so much?

Ria: She’s such an iconic character, she’s such a dramatic, strong, powerful woman and yet underneath like us all so fragile and broken, and lonely and insecure. She’s a real mixture, she can flip on a coin, one minute she’s saying ‘Don’t mess with me’ and the next minute she’s absolutely in bits, like so many of us she just can’t deal with aging, she can’t deal with the fact that her career has fallen because talkies came in and she was a silent movie star, and not just a star, a big star, the biggest star of all as they say in the piece and she feels forgotten, she lives as a recluse in this huge mansion on Sunset Boulevard, with her butler Max where she lives a life of delusion, she happens upon a writer called Joe Gillis and their lives collide and they need each other for certain things in their lives that they’re lacking and they use each other, it becomes a very dark love story that results in a very dramatic ending, I think the most dramatic ending of any musical out there.

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ON: How important is it that there are strong lead roles for older ladies to play?

Ria: Very important, it’s so very current too particularly in Hollywood older stars such as Meryl Streep are saying there’s a real lack of parts for them out there and it’s the same in musical theatre too I think you have Mamma Rose in Gypsy, you have Dolly, Mame and Norma Desmond, and I think that’s about it. Also particularly with Norma is a tough role, my voice is different now to how it was when I was in my 20’s or 30’s it changes and I think this role really is a big sing, I’m doing 8 shows a week so I really have to ensure I look after my voice, I’m twice the age of most of the Company and I get envious sometimes when they’re going out after shows, I think ‘oh I wish I could do that’ but I know I can’t anymore, the role is so demanding that I really have to ensure I take care of myself. But I am really, really enjoying it and the challenge of her, I just think she’s such a great role to get your teeth into as an actresses well as a singer and to have more roles out there like this would be brilliant. There’s shouting, there’s some real emotion, I cry, I’m running up and down stairs, each performance is a real workout, I absolutely love it, the end of the show is just so dramatic and by that point I am so emotionally drained it’s a great way to be at the end of the show because it lends itself then to those final scenes.

ON: How does this production differ from recent London Coliseum version?

Ria: The one at the Coliseum was a staged concert, there were costumes and the whole score and dialogue was played out whereas this is a full production with set changes, costumes changes, full orchestra in the pit where the orchestra were on the stage at the Coliseum, this is a proper full production and there’s not been a full production on tour since 2002, there was an actor musicians one but it didn’t tour so this is the first full scale production in many years. Andrew Lloyd Webber doesn’t tour it often, he doesn’t give the right often, it’s a rare outing. We’ve got a 16 piece orchestra which is by far the largest touring orchestra in the UK so to hear the score alone just played by that incredible orchestra I think is worth the ticket price, it’s absolutely stunning.

ON: Are you looking forward to returning to Manchester?

Ria: I cannot wait, I did Evita there when I was 19 at the Opera House, I also did Les Mis in 1992 at the Palace, when I played Fantine, that was the first time Les Mis had been performed outside of London, I had such a great time there. I’ve been back several times since then with High Society, Anything Goes, Acorn Antiques at the Lowry, directed by Victoria Wood playing Mrs Overall, what a difference to Norma Desmond! Manchester is very dear to me because some of my best roles and best times have been in Manchester, it’s such a great, great city and we’re there for 2 weeks which I’m thrilled about, I’m in my hometown at the moment which is wonderful and I’m having such a great week so I’m really happy our next stop is Manchester because after such a high this week I thought I need to go somewhere wonderful to continue this high so Manchester will be brilliant.

SUNSET BOULEVARD. Ria Jones 'Norma Desmond'. Photo Manuel Harlan (4)

ON: Do you have any superstitions or rituals you have to do before taking to the stage?

Rita: I always say a little prayer to myself and to my Nanna who I know watches over me, I’m not terribly religious but I do have a moment between me and her before every show. I’m not a fan of whistling in the dressing room, if I see one magpie I’ll always salute it and I’d never walk under a ladder, and always try to enjoy it as much as possible, when I get nervous I tell myself ‘come on this isn’t life or death’ I do actually get nervous before every show because I want it to be good, people have paid a lot of money so I always want to deliver.

ON: Finally we have to ask is Danny Mac as gorgeous in the flesh?

Ria: He’s an absolute dream, he’s a lovely person to work opposite, lots of people didn’t realise he could sing and I can tell you he’s absolutely brilliant, come and see it and you will be blown away, he’s so fantastic.

Sunset Boulevard opens at the Palace theatre on Monday 23rd October and runs for two weeks until Saturday 4th November, tickets available here; www.atgtickets.com/shows/sunset-boulevard/palace-theatre-manchester/

 

 

Joesph and the Technicolor Dreamcoat

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2)Joe McElderry in Joseph and the Amazing Technicolor Dreamcoat (c)Mark Yeom...

Sibling rivalry has always made for a decent narrative tale: Cain and Abel, the Hound and the Mountain in the Game of Thrones saga, and of course the on-going feud between Noel and Liam Gallagher. Joseph and the Amazing Technicolor Dreamcoat goes one step further including a colourful coat, human trafficking and the slaying of a goat!

Director Bill Kenwright brings his version of the theatre classic to the Palace for a 6 day run this week as part of an extensive UK tour. The story centres on Jacob and his twelve sons of whom Joseph is his undoubtedly his favourite. Jacob bestows a multi-coloured coat to his number one son which somewhat irks his eleven brothers who sell their sibling to be a slave and inform their father that Joseph has tragically died whilst wrestling a goat. So begins Joseph’s long journey back to his father, not before he discovers a talent for dream analysis and meetings with a Las Vegas style Pharaoh.

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I must confess I hadn’t seen a production Joseph and the Amazing Technicolor Dreamcoat until tonight however on this basis I can certainly see why it’s still a fan favourite after 45 years.  It’s bright, it’s camper than an entire series of RuPaul’s Drag Race, and most of all its jolly good fun.

Star of the show Joe McElderry sparkles as Joseph, bringing warmth and charm to the role. He clearly loves being the face of this prestigious production and it’s clear to see he’s having as much fun on stage as the audience are having watching. His voice is smooth yet powerful, his performance cheeky and hugely likeable. Trina Hill more than holds her own as the Narrator and does a fine job, guiding us gently through the story. Both are supported by a hard working cast who are clearly having a ball and relishing their roles. A scene stealing turn by Ben James-Ellis as the Pharaoh is comedy gold. Special mention also must go to the children of Chester and Wirral Stagecoach who are excellent.

14)Joe McElderry in Joseph and the Amazing Technicolor Dreamcoat (c)Mark Yeo...

There are toe-tapping songs from the opening ensemble number of Jacob and Sons, the earworm that is Benjamin Calypso through to the big tunes of Close Every Door, and Any Dream Will Do.  The costumes and set design are bold and vibrant, fully in keeping with theme of the show.

There were a few opening night nerves: faulty sheep, a dysfunctional stage curtain but these were minor quibbles. My main issue was with the sound, at times some of vocals weren’t quite loud of enough at the start of the song, small tweaks which I’m sure will be swiftly looked at.

Overall this fun feel-good show suitable for all the family and well worth a watch.

On at the Palace theatre until Saturday 21st October, for tickets head to www.atgtickets.com/shows/joseph-and-the-amazing-technicolor-dreamcoat/palace-theatre-manchester/

 

 

 

 

 

Behind the Scenes of Flashdance – The Musical – Part 1 Joanne Clifton

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Starring Strictly Come Dancing Champion Joanne Clifton and A1 heartthrob Ben Adams, Flashdance – The Musical based on the classic film arrives in Blackpool next week as part of a UK & Ireland tour.

Telling the unforgettable story of determined welder Alex, who dreams of becoming a professional dancer, Flashdance promises to be an unforgettable night of entertainment. With phenomenal choreography all set to an incredible score including the smash hits Maniac, Gloria, I Love Rock & Roll and of course the famous title track Flashdance… What a Feeling, Flashdance will have you dancing in the aisles as sparks fly and love blossoms.

We caught up with Joanne Clifton ahead of Monday’s opening night to hear all about the show plus her thoughts on returning to Blackpool and taking to the Opera House stage.

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Opening Night (ON) : You have received rave reviews for your performance, what can we expect from this show?

Joanne : I absolutely love the show and I think that comes across to audiences, I think they can see and feel that, it’s such a different role to the last musical I did playing Millie in Thoroughly Modern Millie, Alex in Flashdance is a tomboy, quite serious, sexy, a really strong woman. I’ve always played lots of comedy characters so I didn’t know how much I’d like playing someone so different but I absolutely love it. The only thing I can’t do is ride a bike and the first thing I do in this show is come on stage and ride a bike, I’m having regular lessons, every day after warm up I’m on there practicing, it’s so much harder than it looks!

ON: Flashdance is such an iconic dance film, everyone who knows Flashdance immediately thinks of THAT water scene, it the water hot or cold?

Joanne: It’s actually cold, I did ask could it be slightly warm as the first few times when it was coming down it was actually shocking me, but if it’s warm it affects the mechanics of the machinery, but I soon realised it’s actually ok as I have been dancing just before that happens so it’s actually quite refreshing.

ON: Is there an additional pressure to deliver something so iconic?

Joanne: Definitely, I felt a similar pressure with Millie especially as Julie Andrew’s had played it, but what I tend to do is I’ll watch the film once then I’ll kind of try and forget about it, so yes I have a link to that character but I’m playing it in my own way. So there is pressure but I enjoy the challenge of doing something my own way and creating my own take on that character.

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ON: You’ve played Marylin Monroe in Norma Jean The Musical, Millie in Thoroughly Modern Millie and now you take on the lead role of Alex in Flashdance, do you feel you have silenced any critics who may only associate you with Strictly?

Joanne: I do like the fact people may come to the show not realising that as well as being able to dance I can also sing, it’s nice to read reviews where people have been pleasantly surprised. I love to show people that I can do other things; I’ve been so lucky and enjoyed such great success with my dancing career that it’s wonderful to be able to show people that as well as dancing I can also act and sing and act.

ON: We have heard they may be a single in the pipeline with your co-star Ben Adams could a pop career be on the cards?

Joanne: It’s actually a song from the show, it’s the duet we do together in the show, we’re recorded it, Ben’s produced it so it’s a little bit different from how we sing it on stage, and we’re also filming a little video for it, all very exciting but I think I’ll leave the pop career to Ben and stick with musical theatre.

We’ve heard recently that you’ve signed up to appear in Top Hat during your Christmas break from Flashdance, you are literally the hardest working woman in showbiz!

Ha ha I’ll tell you something I literally haven’t stopped working since the 1st August last year, the 1st of August was when Strictly started so we had all our pro rehearsals and then the show started in September, then two days after the Strictly final was Thoroughly Modern Millie, then Flashdance rehearsals overlapped the final week of Thoroughly Modern Millie, Top Hat overlaps Flashdance, Flashdance then is back so my next week off is the 5th of March, I’m gonna take myself off on a plane somewhere warm and sleep!

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Not only do you ride a bike on stage but you also get a soaking each night, how do you look after yourself to ensure you’re fighting fit?

I think just the sheer amount of dancing I do in this show keeps me fit, I love it coz I really do dance a heck of a lot in the show, when we have two shows a day by the time I go to bed I’m really tired, I make sure I get plenty of sleep but the great thing is I can literally eat what I want, which is brilliant coz I love my food, sausage and mash, pie and mash, I literally can eat anything I want coz it all comes off!

Are you excited to be returning to Blackpool?

Definitely, it’s one of my absolute favourite places in the whole world and has been my whole life because I’ve danced there since the age of about six, from my ballroom dance career then Strictly it’s been a really important place for me and now going back as a musical theatre star, it’s really special for me.

You’ll be in Blackpool for Halloween; do your cast members play any tricks on each other?

Joanne: I’m rubbish at playing tricks because if I’ve done something you can tell, my face just gives it away but I’m hoping if anyone plays any tricks on me they don’t put anything in the water!

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Now you have committed into 2018, are there any other venues you’re particularly looking forward to?

Joanne: I think we’re going to Ireland which I’m really excited about as I’ve never done anything like this over there before so it will be a real adventure.

ON: Finally who would be your dream partner once Ben Adams finishes his run?

Oh heck, it’s going to be really hard to think of anyone else in that part because I get on really well with him so I’m secretly hoping that he will continue with us into 2018 because we have so much fun together, it’s literally a laugh a minute with him, he’s amazing to work with and I feel really lucky that I’ve found someone like that to be my leading man, I would really love him to stay.

Flashdance opens at the Blackpool Opera House on Monday 23rd Ocotber and runs until Saturday 4th November for tickets head to www.wintergardensblackpool.co.uk/events/flashdance/