White Christmas

          Well Christmas is fast approaching and I felt seeing this show was only right. It's been years, as far as I know, since a Christmas teamed musical has been on the London stage. The musical is based on the 1954 film of the same name.

          Aled Jones was also a reason for me. I want to make it absolutely clear that I am by no means a fan, but I was interested to hear him sing live. In 2012 I met him at St Paul's Cathedral for the final of Young Chorister Of The Year. He seemed like a overly person (and the partner of a grind of mine is also godfather to one of his children) but I've never heard him sing live. He is also liked to Christmas just as much as bad cracker jokes. Just in case you don't know, Aled first came to fame by dining Walking In The Air. The song was made famous by the short animated film The Snowman, though Aled didn't sing the version in the film.

          The show is at the Dominion Theatre, where We Will Rick You was on for a number of years (I reviewed the show here). This is a large theatre and I must admit that I was uncertain if the show could fill it well. I was disappointed to see that the theatre was fairly empty. This always upset me, though I understand slightly as theatre is getting more and more expensive. The theatre also only supplies £8 souvenir programmes, a massive inconvenience. Not only are these programmes horrid to travel home with (and the store at home if you wish, like me) but they also often contain more photos that actual information about the show. I would much rather buy the regular program you get at most shows that's only around £4 yet is contains more written information and far fewer photos. At least give us an option. I mean the tickets are expensive for this show, but to then pay almost £10 for a program is shocking. 

          Talking of money, I am afraid to say this show left me bitterly disappointed for what I paid. I had high hopes and felt it might be able to get me more into the Christmas mood. Now the theatre itself has been wonderfully, yet sparsely, decorated but the show just left me deflated. Now I payed far less than the asking price for the ticket, but even I felt that I'd wasted my money and a perfectly pleasant Wednesday afternoon. I felt I was seeing a dress rehearsal rather than an actual performance. The show contains a large number or dance routines, and I feel the producers/directors concentrated far more on the dancing than the acting or singing, and even then they appeared not to spend a lot of time on that. This however has resulted in near failures in all three. Maybe it will get better the later in the run it gets. who knows.

          I'm sure the older generation will get a thrill out of seeing this, in fact all of them that were in with me were having a great time. This show is definitely one that I think seasoned theatre goers can forget. You will leave bitterly disappointed and feeling like you wasted the evening and your money.
Tickets and Info

Made In Dagenham

          The show is inspired by the true story of a group of women in 1968 who worked at the Ford Car Factory in Dagenham (Essex, England) who stood up and fought for equal pay. Although inspired by this true story, the show is based around the movie, of the same name, that was released in 2010. At  no point during the film do I ever remember thinking 'this could definitely be improved with a few songs'. Another reason why I felt seeing the show would be interesting is quite frankly I couldn't see it working. Its a story that undoubtedly needs to be told, but I was just sceptical as to if a musical was the best way. Also its a brand new musical premiering in London and I couldn't pass up this opportunity to see it, be it a flop or a success. I've seen a few of Gemma Arterton's film acting roles but I'm not the biggest of her fans. However I wanted to see her live and, quite frankly, see if she could sing. I was sceptical.

          I've been to this theatre only once, that I can remember, for Sweeney Todd in 2012 (before I started this blog). Its a lovely theatre with a capacity of around 1500 and a lovely inviting entrance. I was sat in the Dress Circle, as I am for the majority of things I see as I feel you get a better overall view of the stage. I have to say in this theatre that theory works for every seat. From nowhere in the dress circle is there a bad view. Certainly for this performance anyway. I did have to lean forward slightly, but that was only because I was in the front row and I had a small portion of rigging blocking a miniscule part of the stage. There is a walkway that comes out of the front of the stage that the actors use to show the passage of time and movement from one scene to another. This is the only part of the stage that's tricky to see from the Dress circle, but a lack of seeing it doesn't affect the show. The interior of the theatre is, and I don't mean this negatively, rather plain. The plainness of the surroundings, with a slight 1920s feel, only heighten the shows impact on the audience. The show is the star, not the venue.

          That last sentence in certainly true. I was pleasantly surprised to find that this is most definitely a star of a show. From the opening of the show with the song 'Busy Woman' ,along with the brilliantly funny 'This Is What We Want', I knew this was going to be better than I thought. Now I'm not saying I can remember every word of every song, but the music were certainly catchy. In fact I was disappointed there was no cast recording that I could buy. The varying characters make it a true portrait of a group of friends, or work colleagues, and they are acted brilliantly by every cast member. I have to though mention a few by name. Sophie Stanton for instance id beyond brilliant. she is, I guess, the main source of comic relief in the show. She plays this part with absolute brilliance. Yes, she does swear an awful lot. however its done in an absolutely hilarious was and I would see the show again simply to see her. Heather Craney is also fantastic and more should definitely be made of her character. Emma Lindars is not really a main character, even though her character does have a name, but her sinning voice is beyond belief. the character of Harold Wilson was also in the show, however the portrayal of him I felt was just insulting. A lot of people around me were laughing, but I just couldn't. I mean fart jokes are something I really don't want in a show like this.

          Gemma Arterton is by no means the best actress on the West End stage but she is far better than I gave her credit for before seeing the show. One thing I did like is that although she is the biggest name in the show, and to be honest they are using her name as a marketing tool, she is by no means thrust to the forefront of the whole show. Yes she is the main character, but she is by no means the 'star'. Everyone has a fairly even amount of stage time and she isn't the focus of the whole thing.

          I would definitely recommend this show to everyone. It really is a show for all ages and I can see it traveling to other places around the world. It wont reach the universal success of Matilda (my review here) but it will certainly receive great reviews, and deservedly so. Tickets and Info

Forbidden Broadway

          I was so happy when I found out this show is on at the Vaudeville Theatre as, in my opinion, it is THE best theatre in London. It can hold a good amount of people (690) though it feels amazingly intimate. I've never had a bad seat whenever I've been and I would have no issues recommending it to people. So ....... go see a show at The Vaudeville Theatre. The seats are nice and comfortable. Not the best in London I'll admit, but good. The only real issue I have is that the theatre doesn't accept card payments, only cash. This is a little behind the times, but there is a cash point right next to the entrance. The staff are always wonderful and the verity of shows the theatre has had is as diverse as the people that go to see them. I've been wanting to see this show for a while, so when I found tickets I just had to get them. 

          This show has been on the Broadway stage for 30 years and is still just as popular as always. I would put this down to two main reasons. Firstly, it's a funny show and secondly it always stays relevant.

          The basic storyline of the show is, well, non-existent. This is a show that basically makes fun of every other show on Broadway (or in the case of the show I went to see, the West End). Yes they make fun of the music and/or the storylines and/or the characters, but one is able to see that it is done with the utmost respect and love for the shows. I know this might seem like a contradiction, but it's true. Is basically a comedic love letter to Broadway. The only issue with this, is that you need at least a little understanding of the shows in the West End, or Broadway, to be able to understand some of the jokes. Don't get me wrong though, it is a funny night out even if you aren't as familiar with the shows. It isn't just the shows that get picked on. Its the people associated with musical theatre as well, from Cameron Mackintosh and Stephen Sondheim to Liza Minnelli and Bernadette Peters.

          The set (if you can call it that) is wonderful, although a little basic. I would say it looks a little like the stage dressings you would find in a cabaret bar, not that I've ever been to one. The costumes are also on the simple side. For example when they are in the Lion King portion of the show the elephant costume consists of a grey tube and three grey towels. This simplicity is part of the sows farm though.

          There are only four performers, plus the pianist, and all are brilliant. On the performance I went to the understudy Laura Tebbutt was performing the part usually played by Christina Bianco. Calling her an understudy though I feel us an insult to her talent. She should definitely be more than an understudy. Herb singing voice is superb and she seems right at home on stage and more than confident with comedy. I would have said she should have a art in Phantom If The Opera, but I feel that shows current shody production quality would be an insult to her outstanding talent. I'm sure Christina I'm sure is wonderful, but I'm so happy she wasn't, or I wouldn't have had the joy of seeing Laura. Anna-Jane Casey was brilliant as well. Not just in her singing but in her complete performance. She has been in many productions and her professionalism shows (even if at one point she couldn't help laughing). I've never had the joy of seeing her perform live before, though I have seen her on television as part of the BBC Prom celebrating the music of Rodgers & Hammerstein in 2010 where she was a principal soloist. She has had many serious roles, but she is just MADE for comedy. The two men in the show, Damian Humbley and Ben Lewis, are also fantastic. For me though Damian gave me many more laughs. At one point he even got the rest of the cast laughing, though as in other shows I've seen I feel that maybe even this apparent break of character's was a staged part of the show. Guess id need to see it more than once to know.

          Such a good night out that will be fun for any theatre goer. A bit of fun that the whole family will love. I hope, like on Broadway, this becomes a staple on the West End stage. You need to hurry though as its ending on November 22nd. Tickets and Info

 

Jersey Boys

          This show has been in London's West End for just over six years, and yet I haven't seen it before now. It a show I've always wanted to see, though I've always found excuses not to go or other shows that were more apealing to me. I'm not the biggest fan of The Four Seasons, though I think as is the case with most people there sings agave seeped into my music subconscious, so the music wasn't really something that was drawing me to the show. To be honest, I don't know what was. The show has been seen by over 9 million people worldwide and has won 55 awards. It's also just been made into a feature film, directed by Clint Eastwood, so clearly it's doing something right.

          The show has been in just two theatres while in the West End and now resides in The Piccadilly Theatre. It's original home was The Prince Edward Theatre, where Miss Saigon now resides (read my review of that here). I feel The Piccadilly is a much more suitable venue for this production with a much more intimate feel and, in my opinion, a better seating arrangement. Yes, like the majority of London's theatres the seats are aranged the same, with those in the stalls in straight lines and those in the upper balconies in a slight semi-circle, however the angle at which the seats are positioned and the closeness to the stage creates an almost perfect view from any seat. If you are right at the back of the stalls on the upper balcony then some of your view may be blocked, but no more than one would expect. 

          I've only been in The Picadilly Theatre twice before. Once for the Spice Girls Musical Viva Forever (you can read my review of that here) and then I believe back in 2008 for Grease. The theatre is set back from the main hustle and vastly of Picadilly Circus, on the corner of Denman Street and Sherman Street. There are some lovely places to eat right opposite the theatres entrance, including a Zédel Brasserie and a Jamie's Italian. At the end of Denman Street there is also the Rainforest Café, which is a theatrical experience in itself and well worth at least one visit in your life, especially if you have children with you. With all these options your garnered a good pre-show experience.

          Like most of my theatre going experiences I had a seat in the Royal Circle. In the circle's foyer/bar there was a live piano player, something I've never come across before (not that I can remember at the moment anyway). He was playing a good mixture of theatre and non theatre songs/music. It really added to the experience, and made me almost nt mide waiting to be let into the auditorium. The moment you are let in, you eyes are met with a plethora of dark reds and greens, gold and a little white. The audience consisted mainly of older people and women, though there were a few families and couples that appeared to be on dates. The size of the theatre it good. Your not overwhelmed by the size but it also doesn't feel intemit. It's hard to say if it's previous home, the Prince Edward Theatre, would have suited the show more, but this space certainly suits it almost perfectly. The seats are wonderfully comfortable with a reasonable abount of leg room. This is helped by the steep angle of the seating which also means there is very little chance of your view being blocked. 

          With most West End production, when you walk in to take your seat the stage curtains are open and you can see the setti for the first scene. With this shoe, you can imeditely tell the lighting is going to be brilliant and lighting director Howell Binkley certainly doesn't disappoint. The staging is also superb and costuming is great. The cast are also sublinpme. The four main men, Michael Watson, Edd Post, Jon Boydon and Matt Nalton, don't bare a great resemblance to the original Four Seasons, but there voices are something else. They sound like they are meant to be together, an actual band and friends on and off stage with voices that when singing in harmony sound like one. The casting team can only be commended on their brilliant choices. The sets are also changed seamlessly, and what appears to be effortlessly though I'm sure that's a misjudgement on my part.

          This show has been very successful, wining over 55 awards, and it's been seen by over 9 million people worldwide. But why so popular? I don't believe it's to do with quality as, to be honest, I've seen other shows that have been far better. I think it's because it's different. In the same way that Les Mis broke boundaries for musical theatre I think so to does this show. Although, one only has to know the story of The Lord Of The Rings Musical to know that being different or unusual in musical theatre isn't always a good thing. The actors talk to the audience as a way of narration, which is something I've never come across in musical theatre. There have been one of to plays that have done the, most recently Handbagged, but I've never really seen it in musical theatre. It's interesting having information given about the band and it's history throughout the show as well as listening to their music. Unlike Will Rock You, the Queen musical, the story hasn't been built around the music to try and create some sort of a plot. The music IS the story.

 

          All I can say, in conclusion, is that I'm just sorry I left it this long to see. Although I don't think it will be in the west end as long or as successfully as Les Mis, I am sure it will be in the West End and around the world ,for a long time to come. Definitely a show that should be seen, even if like me your not familiar with the group. Tickets and Info

Handbagged

          The Queen and Margeret Thatcher have been the subjects of a few films and plays in recent years. This show entrained me however as it explores the subject of the weekly meetings between the Queen and Thatcher whilst Ms Thatcher was Priminister of Great Britain. 'But you've seen that before.' you may say. True. I did see The Audience (the review of which you can read here), but that is exactly the reason why I wanted to see it. Why have two shows that have the same subject matter show in the West End with a gap of about a year between the two? Surely this show must have something different. Plus, just look at that sly grin on Margeret Thatchers face in the advert above.

          The play is on at the Vaudeville Theatre, which to I my knowledge I have only been to once before (I went to see Trevor Ashley, an Australian musical star and female impersonator, perform a solo show entitled Liza On An E. You can read my review of the show here). The theatre has a capacity of just 690 though it feels fairly intermit, especially if you sit in the stalls. With the set for this show, which is unapologetically simple, each and every seat will have a brilliant view of the action, which takes place centre stage most of the time. The completely white set is only broken by a few items of furniture which are moved occasionally during the show. Some, I know, will find simple sets annoying. I admit that even I had a issue with stupidly simple sets, though for this show it is perfect. The acting is only emphasised by the lack of set and my god is the acting brilliant.

          All the performers were brilliant, though I must Marion Bailey and Fenella Woolgar. Marion is fantastic as an older version of the Queen and Fenella is brilliant as a younger Thatcher. Don't get me wrong, Stella Gonet and Lucy Robinson are great in the roles of an older Thatcher and younger Queen, though Marion and Fenella excelled. Both are hilarious in their roles and bring a new dimension and characterisations of people one already feels one knows. Marion gives the first big laugh of the show and I would argue it could be the biggest of the whole show. With her entrance you know exactly what sort of show your in for.

          If you see one show this must be a consideration. Yes there are musicals I would see over this, but in terms of a comedic play I doubt you'll find any better. Tickets and Info

 

The 39 Steps

          This show has been in the West End since 2006. It was first at the Tricycle Theatre for a month and then moved to its current home, the Criterion Theatre in Piccadilly Circus. I have never been to this theatre before, even when I was younger. For some reason, and I'm not really sure why, I've never really been interested in seeing this show. This is a very unique theatre in London. From the outside you would be forgiven for thinking the building you see from the street is the theatre. That isn't the case. The actual theatre is entirely underground. Surprisingly, even though this is the case I had an extremely good 3G connection on my phone.

          The show is based around the Alfred Hitchock film from 1935, the first of 4 film versions with a fifth "in development" by director Robert Towne. Hitchcock based his film on the 1915 book (of the same name) by John Buchan, though the the film departs substantially from its literary predecessor. As you can see from the image above, the play still has Hitchcock's name on it. As I said before I've never seen the show but I have also never seen any of the film versions, nor have I read the original book, so the story is entirely new to me. I was really looking forward to the fact the show only has 4 actors and I was wondering just how interesting/gripping this would be. After all the only thing I knew about it was that it involved a man and a train. Mind you anyone could guess tiaras the advertisements kind of give that away.
 

          The theatre itself is lovely, though one could say its very 'girly' with an excessive amount of red and pink. When sitting in the stalls, if you sit any further back than row L, there is a possibility you may be sat directly behind a pillar and therefore see very little of the stage. I was thankfully in row L and I had a brilliant view. From the outside it looks like a fairly normal and unassuming building, however you can't acctually see the theatre from the street. What one sees from street level is infact a hotel and a restaurant. The theatre itsself is entirely underground. If you find steps hard, go prepared for the decent. Being entirely underground makes it a very unique theatre in London. The audience was a good mix of ages and infact there was a large school group of young people who must have been no older than 13/14. 

          The set was lovely and simple but was used to an absolutely brilliant standard. The cast also acted brilliant, well maybe that's a bit of an overstatement, and infact made the show seem a lot more like an improv than a wel rehired show. These two things combined with the lack of an extensive amount of costumes and actors made the show seem more like something one imagines one might have seen at an old variety theatre. The show is funny, though not exactly laugh out loud. This was mainly helped by Greg Haiste and Nick Holder who play characters both simple called 'Man'. Their OTT performances and brilliant comic timing add another comic level to what is already a funny show. 
 

          There are lots of Hitchcock references throughout the show, which I'm sure most young people would miss. For them though, and adults who don't get the references, the show is still massively entertIning. Definitely one you can take the whole family to see as it verges close to slapstick. I hope they take that as a compliment as that's certainly how I mean it. Tickets and Info

 

 

War Horse

 

          This is a show I've always wanted to see but I've resisted as I didn't want to be disappointed. When my mother bought tickets for my grandmothers birthday however, I decided to tag along. 

          The National Theatre originally had this show on there own stage, however it has now moved to the New London Theatre. From the outside the advertisements for the show are massive, and it's a fairly new looking theatre compared to others in London, even the National Theatre. It's also a little bit out of the way compared to other theatres though the area is lovely. The theatre itself, once you got through the doors, feels very much like the National Theatre, even down to the semi-circular seating. Unlike the national theatre it doesn't seem particularly well suited to people with mobility issues. They do provide an escalator to the first level, however they fail to mention that after that there a a lot of steps for people to do, even if going to the stalls. One just assumes that now a days if there is a lift it would be well signposted and obvious. This isn't the case. I asked about a lift and I was told that you had to use one that actually was in the back stage area and led to the stage door. That was the only one available to us. This felt rather odd, as when I left with my grandmother we used the lift. As we were waiting for it to arrive we were being passed by actors who were trying to have showers and relax between the afternoon and evening show, some wearing very little. I jugs felt like I was intruding on what for an actor I would assume counts as a very private and personal space away from public. My grandmother loved it though as she got the congratulate the actors on their performances. 

          The actual auditorium itself is lovely, as I mentioned, and very much like the auditoriums at The National. The seating is very dark, a mixture of black and brown, which means when the lights go down the audience practically disappear and your attention can't helped but be drawn into the stage. The only annoying thing though was that I noticed the rustling of paper and sweet wrappers far more during this show than I have in any other. It took real strength for me to rise above saying something. My grandmother though did give a number of harsh looks at a few groups of people sat around us. A really good thing though is the price of the programme. The price, £4, isn't different to most shows, however the size of the programme is a lot bigger. I have got programmes this size before however the price is usually a lot more than £4.

          This is a show I know very little about. I know pieces, of course I know about the puppets, but I know nothing gather than the basics about the story. I haven't even seen the film but I certainly intend to see it now. I know the plot involves a young boy who's horse is taken away from him as the army need it to help in France during WW1. That's it. I know nothing more than that. I think like most people, I went more to see the puppets and to see if they helped, or hindered, me being taken into the story. I'm glad to say that they didn't have a negative effect what so ever. My mother said she forgot about the puppeteers and in fact after a while she didn't even see the. I didn't quite get to that point, but the puppeteers certainly began to become a little less noticeable. The horses are fantastic and really add a new and interesting dimension to the show. Even me, who doesn't really get that emotional at shows/films was taken aback by the emotional aspects in the show that were so well portrayed and executed by the whole cast.

          There are however two members of cast that I need to specifically mention. Jack Loxton, as Albert Narracott, and Sophie Crawford as the songperson/musician. Jack portrayed all the emotion brilliantly and you really could feel the love, hurt and pain that he was going throughout during the show. At times it was a little over the top but on the whole it felt real. Sophie has a sublime voice as I was always happy when she was singing. She was a great link between scenes and her songs were sublime. I will admit that the presence of a random person singing did at first confuse and slightly annoy me, but after a little bit I welcomed her presence.

          If you haven't seen the show it's well worth seeing. Minot going to say it's the best show in London as it most defiantly not, but it's defiantly good. If your an emotional person go prepared to cry. At the interval it was like one big sniff rippling around the audience and the lifting of hands in unison to wipe away tears. 

 

          Other than London, there are currently productions in Berlin, Holland, South Africa and there are tours of the show going on in the UK and Ireland as well as North America. On the date I published this review, the North American tour will be ending in the 27 June and the UK/Ireland tour will be ending on the 14 February 2015). The following link takes you to the international sight for the show where you can select the production you wish to see. Tickets and Info

 

Miss Saigon

          I will fully admit that I know very little about this show. All I know is that it's based on the Puccini opera Madame Butterfly and has a story line that explores the relationship of an American GI and a Vietnamese bar girl during the Vietnam war (the opera features an American lieutenant and a Japanese girl). Although I am a fan of opera, Madame Butterfly has always been one that I have never liked. Infact I can't watch it for more than 15 minuets before I can't stand it any more. I cant tell you a specific reason for this, it just is was it is. This is unusual though as it's one of the most loved of all the operas. Why, if I don't like Madame Butterfly, would I go to see a musical that's based on it? Well firstly the producer is Cameron Macintosh and I have always liked his other work. Also I have heard the rave reviews, seen photos of the production from when it was last on the London stage and read descriptions of the production. I wanted to see if for myself and if it is as good as I'd heard but also, like most people, I wanted to see how they portrayed the helicopter on stage.

          The theatre is wonderful. I would go so far as to say it might even be the best looking London theatre I've been in. There is lots of red and gold giving a very oriental feel which suites the show perfectly. I've no idea how it would have suited the last production in the theatre, Jersey Boys, but it certainly suites this. The seats in the theatre are fairly new and you can tell. Looking at them you might not be able to tell but they are surprisingly comfortable to sit on. The backs a a little hard and infact for most of the show I had some form of back pain. The seats are also a little close together so if your a larger person you may be a little uncomfortable. There is also a slight issue with the rake (the angle at which the seats are in relation to one another). It's not particularly noticeable so the bottom of the stage had, for me anyway (and I'm not that short), a line of bumps, or the tops of people's heads, all along the bottom.

          One last negative thing regarding the theatre, I promise. They opened the doors 45 minuets before the production, which started slightly later than it was meant to by the way, and for those of us in the stalls we were ushered down to a separate waiting area. I normally arrive 30mins before a production and this time was no different. When I got into this second waiting area it was already fairly full and people were already a little squashed. The theatre staff however just kept letting people in and almost pushing them as far forward as they could to let more people in. I could stand this to a certain extent but when it becomes more crushed than the tube during rush hour it's just not good.

          There were no real big names in the production, however all have been in numerous theatre productions and some are at least known by theatre fans and critics. Jon Jon Briones is probably one of the best known by Miss Saigon fans, though not by me, as he was a member of the original production and has subsequently played the role of The Engineer in productions around the world. In the role of The Enineer he brings welcome bursts of comedy throughout the show. I say all the cast have been involved in numerous productions, however Eva Noblezada is making her professional and West End debut with this production. If that was nerve racking enough for her she has the role of Kim, which for those of you unfamiliar with the show is the title role of Miss Saigon. I must say she is fantastic and has both a brilliant singing voice and was absolutely captivating to watch. Alastair Brammer who plays the role of Chris, the American who falls in love with Kim, and Rachelle Ann Go who plays Gigi are also a good singers however I did feel at times I couldn't totally understand what they were saying as they were almost mumbling their words. This is surprising as Chris has had many West End roles including Marius in Les Miserables (he took on the role of Prouvaire in the 25th Anniversary concerts at the O2 Arena in London and again in the 2012 film). He had a much better voice quality in Les Mis so maybe having to have an American accent got in the way. Rachelle is also, according to her bio in the programme, is a well known pop artist and actress from the Philippines. I would therefore assume she should have a good singing voice, though you can never be sure of that now with many singers. Her acting was reasonably good though. There are a few others people may know, such as Tamsin Carroll and Hugh Maynard, but there performances were neither good or bad enough to warrant more than this passing mention. One more thing I have to say about the cast, and that is in regard to the female ensemble. As good as their individual singing voices are, they are truly a joy to listen to when singing in harmony. I would go so far as to say they were absolute bliss. I was transfixed.

          The scenery is brilliant, constantly moving and changing and always portraying the locations perfectly. I also need to praise the work of the lighting designer Bruno Poet. He has worked on many theatre ans operatic productions. The lighting of the production made myself and others in the theatre feel more like it was a movie rather than a West End show. The lighting is something people around me seemd to be talking about most about during the interval, something thats never really been a major basis for discussion at past shows. I mentioned at the beginning of this that I was interested, as are most people, to see exactly how the production delt with the task of a helicopter on stage. I must say although managing to get a helicopter on stage is impressive, I was left a bit deflated. Although this is the UK premiere of this new production, and the first time the show has been on a London stage in around 25 years, the production has been on stage at many locations around the world. Seeing as there have been great advances in technology I would have assumed so much more could have been done. Maybe I'm just being a bit fanciful, but nonetheless I was left deflated. 

          I know there has been a fair amount of negativity in this review however I must stress that I did really enjoy the show. It isn't my most loved West End show, though it's certainly up there. I would defiantly recommend going to see this as it's not only a one of the most well known pieces of theatre but it's also a great production. Tickets and Info

I Cant Sing!

          As soon as I heard that this musical was being produced I wanted to see it. Not because I thought it would be fantastically brilliant, bit the opposite. I wanted to see just how rubbish it was. I have to say though it was better than I expected.

          The show is on at The London Palladium theatre, an institution when it comes to theatre not only in London but in the whole of the UK. Part of me feels a little disappointed that the theatre should go from something as classic and brilliant as A Chorus Line to this show, but oh well. I'll just side step the fact that the shows were separated by the Eat Pray Laugh! Barry Humphries Farewell Tour. I was well aware of the negative reviews that the show has had some bad reviews but that didn't stop me. I was surprised however that the theatre was less than half full (not sure exactly how full it was but it certainly looked like less than 50%). I'm sure this is because of the bad reviews rather than the subject matter of the show. At its peak last year The X Factor (UK) had roughly 9.6 million viewers. I know it's not the biggest viewing figures the show has ever had (over 19 million watched the finals of both series 6 and series 7), but it certainly would suggest a fairly strong/large market audience for the musical. The Upper Circle seating was completely empty and the Royal Circle, were I sat, appeared to be just under half full. There were even some empty seats in the first couple of rows or the Royal Circle which is something I have never seen in the West End before. If audience numbers are this low every night the show wont be going for very much longer.

          The show is mainly selling itself on the comedy, but I think I only laughed a couple of times. There was a guy in front of me who couldn't stop laughing, so maybe I'm just an uptight snob, but it really didn't tickle my funny bone. There were a few funny bits though like Simon Bailey who was playing Liam O'Deary, a characterisation of X Factor host Dermot O'Leary. He got his personality, characteristics and even his speech pattern completely on point. Just like Dermot himself, it did become a bit tiresome for me after a while. The only consistently "funny" aspect was the guy who was playing The Wind (for this to make any sense you'll need to see the show). Because he wasn't a major part, every time he appeared I chuckled slightly.

 

          There was one performer/character who was genuinely funny was Simon Lipkin as Barlow. Simon has been in many West End productions including Rock Of Ages as Lonny, Spamalot as Galahad and Avenue Q as Nicky and Trekkie Monster. He has also been in a number of television shows and the films Muppets Most Wanted, The Harry Hill Movie and Nativity 3. He was the only person that made me actually laugh out loud. a brilliant performer and definitely the star of the show. He was, by far, the best performer. The fact I've said this may shock a few people as the show stars Nigel Harman as Simon Cowell. He is the biggest name in the show and without a doubt one of its selling points. His part however isn't that big and it isn't one of his best. I would say its definitely one of his worst performances I've ever seen. I loved him as Lord Farquaad in Shrek the Musical and in his TV roles in Downton Abbey, Hotel Babylon and Lark Rise to Candleford. I think he is a great actor, but this role is just stupid. I know Lord Farquaad is a stupid role, but at least he made me laugh as he was stupid-funny.

 

          There are a few other people I should really mention. Victoria Elliott, for whom this marks her West End debut, and Ashley Knight are great. Victoria's character is a parody of Cheryl Cole and Ashley's is a parody of Louis Walsh. Ashley is really on stage for very long and his role is more physically based than vocally. He is funny though and did, on occasion, make me laugh. Victoria has a much bigger part to play and really does it well. you really wouldn't know she hadn't been in the West End before. she seems completely at home on the stage. After Simon Lipkin I would say she was my favourite performer. Loved her. Cynthia Erivo, who plays the main character Chenice, is also good. she by far has the best singing voice of the whole show. here acting was also good, but for her and the rest of the cast it was degraded by the poor song lyrics and dialogue of the show.

 

          As I said before, unlike me there was a guy in front of me who just couldn't stop laughing. I think its one of those musicals that's like Marmite. You either hate it or you love it. Unlike Marmite, I really didn't like this. This show was defiantly one I wouldn't recommend for quality but maybe its something you'd like more than I do. You certainly shouldn't go expecting the next big thing or something that will run for years and years because of its brilliance. Its just a bit of fun, but for me it wasn't fun enough. I said right at the beginning that it was better then I thought and from what ive put that may be hard to believe, but its true. I thought it would be a complete car crash and it wasn't. It was close, but not completely. Simon Cowell said “I thought the idea of an X Factor musical, if it was too pompous, would be rubbish, and I didn't t want it to appear like a cash cow. I wanted it to be a celebration of the show but at the same time poke fun at what we do, because you can’t take it too seriously." I can see how the idea COULD have worked Simon, but it didn't quite get there. Oh, and it defiantly does appear like you wanted it to be a cash cow. Shame that's gone a little wrong. Tickets and Info

 

 

29 April 2014 - It has recently been announced that I Cant Sing! will close on 10th May after a run of just 6 weeks, making it one of the biggest musical flops in West End history.

Blithe Spirit

 

 

          Angela Lansbury. That's it. Angela Lansbury. The only reason I went to see the show. Angela Lansbury!!!!!!

          The show is showing at the Gielgud Theatre which is one of my favourite theatres in London. It's not one of the biggest, in fact it's on the smaller side, with a seating capacity of just 986. It feels bigger though as the seating is split over three levels. I was in the front row of the top gallery and the view was surprisingly good. The angle at which I was viewing the stage was a bit steep but I soon got used to that. The only downside was that there was very little leg room. There was a good mixture of people in the audience, but I was surprised to notice that not all the seats were full. The set stays the same throughout does have a few minor changes made to it. I didn't get bored with the lack of change however as I have in other shows.

          I first knew of Angela Lansbury through the film Bedknobs and Broomsticks (1971). My sister and I would always watch it at our grandparents house when we were children and it is to this day one of my favourite films. Since growing up I've become aware of her other work such as the stage production of Sweeny Todd on Broadway, clips of the show when it toured in 1982 can be found on YouTube (https://www.youtube.com/results?search_query=sweeney+todd+1982), and of course her fantastic work as the voice of Mrs Potts in Beauty And The Beast. Of course who wouldn't know her from the TV series Murder She Wrote. She was also in one of my favourite films The Court Jester, with Danny Kaye, a fact I only found out about two weeks ago. Madame Arcati is in fact a role she previously played on Broadway in 2009. As soon as I heard her talk, she was off stage at that point, I had tingles down my spine. I couldn't help but picture her as Mrs Potts though. Her arrival on stage was greeted by rapturous applause. Only a few people merit this and she is most definitely one of them.

          Another actress I was interested in seeing was Jemima Rooper. The only thing I know her from is the film Kinky Boots, though her bio in the shows programme assures me she's done other work. In Kinky Boots I wasn't that keen on her to be honest. I found her a bit dramatic. Overacting a little. I was interested to see how she was live on stage. I'm glad to say she was much better. Mind you, the role of Elvira suites overacting so maybe it was just the role that made her seem better. An actress who I'm sure will become a star of the West End, for whom this is not only her first West End role but also her professional stage debut, is Patsy Ferran. She is marvellous. I hardly ever use that word but it is extremely fitting to her performance and characterisation. For most of the show she says very little except "yes 'm", but her role is very physical during this time. Her comic timing with the moves is exhilarating (a word that's appropriateness in this instance I deeply question) and her over exaggeration if sublime. After having a stressful day she very much cheered me up and relaxed my thought-riddled brain. A true star in the making who's career I'll be interested to follow.

 

          The other characters were fantastic as well, though Ms Lansbury and Patsy Ferran stood out. Serena Evens as Mrs Bradman was, like Patsy, a bit of comic joy. It's a shame her part isn't bigger. I was constantly smiling when she was on stage. The two main characters of Mr and Mrs Condomine are played by Charles Edwards and Janie Dee. Both are fantastic actors with many theatre, film and television roles behind them. They are continually engaging and drag you completely into the story. I couldn't take my eyes off them.

 

          There where unfortunately a few instances of what appeared to be forgetting of lines. One of these was unfortunately be Ms Lansbury though I'm unclear if this was genuinely her forgetting a line or her brilliant portrayal of the character. This production is, in my opinion, better than the one on Broadway in 2009 and far outshines both the 1945 and 1966 films. One that I would definitely recommend anyone to see. I mean come on ................ it's Angela Lansbury. Tickets and info.

 

 

We Will Rock You

          I've resisted seeing this for such a long time as I'm a Queen fan, but my god had I been missing something special.

          The Dominion Theatre has played host to We Will Rock You since its debut in 2002. The theatre hasn't really had many notable productions before this one, other than the musical adaptation on Beauty And The Beast from 1997 to 1999. I've resisted going to see it as I'm a fan on queen and I was worried about the show possibly ruining their songs for me. I know that Brian May and Roger Taylor collaborated on the show but I was still anxious. Also, the show was written by Ben Elton, the English comedian, author, playwright, actor and director, who wrote for such cult series as The Young Ones and Blackadder and also wrote the sequel to The Phantom of the Opera Love Never Dies (and produced, for some reason, by Robert De Niro) I trust Ben Elton, but I've never been the biggest fan of his work (though I love Blackadder).

          The theatre is lovely and large, with a capacity of 2,069. Although the foyer areas feel vast, the actual theatre feels relatively contained. Sat there in an audience full of all different nationalities and all ages it one of the few times I got even more excited about the show because of the audience I was sat in. As soon as it started I was excited. The whole theatre shook, like your body does when a car drives past with the bass in its stereo system turned up loud. this went on for longer than I had been expecting and really built my expectations.

          I have to say though I left a little disappointed. The plot was poor and, quite frankly, stupid. The acting was good, though I saw better in the production of Fiddler On The Roof by Potters Bar Theatre Company in 2011. I mean don't get me wrong it was enjoyable, but it wasn't great. Why then did I put at the beginning that I had been 'missing something special'? Well it wasn't the plot or the acting. It was the music. Blimey can the cast sing. Well most of them. The best singer, in my opinion, by far was Amanda Coutts as Meat. She was brilliant. Its a shame that such a talent is in theatres and not selling records around the world. She was engaging and stayed true to her character throughout, and on a number of occasions sent shivers down my spine. The two main performers Oliver Tompsett and Rachael Wooding, playing Galileo and Scaramouch respectively, were also fantastic. There voices were sublime and like Amanda Coutts their talents seem wasted in the theatre.

          Another singer/performer was Brenda Edwards as Killer Queen. She is being treated like a star by the producers by having the longest cast bio in the programme and also her debut solo single for sale with merchandise in the foyer. I mean I had no idea who she was (or even is). Apparently she reached the semi-finals of The X Factor in 2005 and got the Screen Nation Award for Favourite Reality TV Star in 2007. In 2006 she played Mama Morton in Chicago: The Musical in the West End. Know who she is yet? Me neither. I searched for her X Factor clips on YouTube and I think I remember her but not really. Either way it feels as though she is getting star treatment, which she definitely doesn't seem worthy of. The audience was paying more attention to her breasts practically falling out of her costume then her singing. Her singing is good, yes, but there are people in the show far better than her.

          Something I was excited about was finding out that Arlene Phillips, known mainly now as a judge on TV shows such as Over The Rainbow and Strictly Come Dancing, was the choreographer. She's worked as a choreographer on a number of theatrical productions in the West End, including Starlight Express, Jesus Christ Superstar, Grease and The Wizard Of Oz. She has also worked on many films and television programmes. As I, like many people, know her only as a TV judge I was interested to see her in her actual profession (I did see Starlight Express and Grease, but I was young and wasn't really concentrating on the choreography). I have to say that she has done some brilliant work with the show. She has waved her magic wand and has really lifted the show, and trust me it needs every lift it can get.

          The show is unfortunately closing on 31 May 2014. Why is it a shame? Some of the cast are fantastic singers and I think its a shame that there will no longer be a show bringing Queen music to the masses. I know I haven't exactly given a stellar review but I think that everyone needs to see it before it goes. I'm only giving it the star rating that I am because of the music. If that hadn't been there ....................... I don't think I've ever given a 1/2 star before. Info and tickets

The Full Monty

          This was very much a spur of the moment buying of a ticket. It had been a while since id seen a show and when I saw this was coming back to the London stage I went ahead and got myself a seat. I saw the film on television back in the late 1990s/early 2000s. It was released in 1997 but I know I saw it on the television rather than in a cinema. To be totally honest I only remember certain aspects in the film mainly about the story rather than the performances of the actors. I will say though that after seeing this production I will definitely be watching the film again.

          When seeing the show the very first thing you will probably notice is nothing to do with the show at all, but about the audience. Its mainly groups of women between the ages of 35 to 60. There are a few groups of gay men and the occasional husband and wife, but the audience is most definitely groups of woman. certainly when I went most of these woman had been drinking before the show. How do I know? Well it wasn't that difficult to notice their inebriation. For a while it was fun but after a while, especially during the performance, there constant talking behind me did get annoying. I'm not saying its a given that this will happen at every performance, but just prepare yourself. I was sat a little closer than half way back in the stalls and just three seats in from the edge of the seating. One might assume that this would really effect the view, but I must say my seat was fairly close to perfect.

          The set was brilliant. It stayed exactly the same throughout the production, however with certain lighting and the adding or movement of extra minor elements they managed to journey to a variety of locations. A long winded sentence, I know, but I hope you get the idea. The basis of the set was the interior of the steel works factory where the main male characters all work/worked. From the moment the lights and safety curtain went up, there was almost a universal intake of breath. I really have to commend the work of both the designer, Robert Jones, and the lighting designer Tim Lutkin.

          The acting was definitely above average but I wouldn't say it was brilliant and faultless. Kenny Doughty, who plays the lead character of Gaz, was probably the best actor of the whole cast. With a knack for portraying emotion, even if a little over acted in places, and with good comic timing he creates an extremely well rounded character and was a joy to watch. Craig Gazey was also a joy, bringing a brilliant comic streak throughout the show. Kieran O'Brien was also brilliant with comic timing. He also played a lot more with/to the audience making one very aware you were part of a show and leaving one unable to get sucked into the show. Usually I would class this as an issue, but for this show it made it much more enjoyable. The main acting issue I had came in the form of Roger Morlidge. I'm not saying he was shot, but his performance wasn't the most stable and there were moments I felt he had forgotten lines and/or was feeling very self conscious on stage.

          I would definitely recommend everyone to see this show, though I am well aware it will appeal more to a female audience. If you want to go, you need to be quick. The show is only on for a limited season, which ends on 14 June 2014. After that it will be going on tour all over the UK, so check the website for details. Tickets and Info

 

Spider Man - Turn Off The Dark

          When I was in America last September I went to see two shows on Broadway. Spider-man and Kinky Boots, which I reviewed here. I was excited to see Spider-Man as I'm sure many people reading this will be aware the show was encountered a myriad of issues before it finally opened. Unfortunately the show has now closed (as of 4 January 2014) however is will be transferring to Las Vegas and will be touring Europe. It has been rumoured that the show will be shown in Wembley Arena at some point in the next couple of years. With the Las Vegas transfer the show's producer Michael Cohl said "We'll work on improving everything, It could be anything. It's a blank piece of paper." This suggests the show could be even better than it was, but it could also run into many more issues.

          What was good about going to the show was that as a tourist with a New York Pass my friend and I got discounted tickets. Although we couldn't choose our seats we surprisingly were in a brilliant spot. We were about half way back in the stalls and to the far left. We were right on the isle though. Usually I would say that one needs to be sat more centrally to get the most out of a show, however for this production I don't think were you sit is really an issue. with the acrobatics and wire work that goes on throughout the performance there are those places were sometimes the actors get exceptionally close to you or fly directly over your head, but of the overall show any seat you choose will be good.

          From the moment the show opened I knew it was going to be a bit of a spectacle. That's the only word I can really use to describe it. The opening was more like something out of Cirque Du Soleil than from your average Broadway or West End show. The momentum of the show didn't really slow down, even during the emotional scenes. With people swinging on wires almost throughout the show and moving sets this consistent momentum wasn't really much of a surprise. The set had, appropriately, a very comic book feel to it which really makes you feel like your part of a comic. This whole feeling of a 3d interactive comic book, surprisingly for me, felt amazing.

          The characters were fantastic and from what little I know of the Spider-man comics, were very accurate and true to the way that they were written. The guy that plays Spider-man, Justin Matthew Sargent, had only taken over the role 2 days before I went to see the show. He was good though I did find him a little wooden. That may well have been for a lack of experience being the principle cast member. There is no indication if he will take up the role again when it transfers to Las Vegas, but I do hope they find someone a bit more relaxed on stage. The stand out actor for me though was Robert Cuccioli, who played Norman Osborn/Green Goblin. Absolutely lovably evil, if that makes sense. a fantastic actor who's acting was enhanced by was can only be described as a sceptical in itself.

          There was however one issue I had with the show. The music. Not because it was bad it just wasn't memorable. In fact I cant remember any one of the songs. The sets were fantastic both in the scale and in how it was used. sometimes it did feel a little sparse, like when the were visiting the lab of Dr Norman Osborn, but never to an extent were it really affected my impression of the show. As much as the show impressed me on its scale and I did have a good time, it wasn't something that I will remember for the rest of my life or indeed see again.

          Don't take my last paragraph the wrong way. If you ever go to Las Vegas, or if/when it transfers to London, I would definitely recommend you make time to see this show. Its like nothing you've seen before.

Kinky Boots

          I went to New York in September last year and this is one of the shows I went to see. My blog is normally dedicated to London's West End, but it has recently been announced that there are plans to bring this show to London at some point in 2014 or 2015. Because of this I thought Id go ahead and review this show now. Ill do an updated review in the future when I see the West End version whenever the show transfers here.

          This show was, in a word, unbelievable. I made no notes at the show to help with this review, as I had no intention on reviewing it. To be honest though I don't really need notes. Its been almost four months since I saw the show, but its still as fresh in my mind as the moment I left the theatre. With its wonderful sets, great cast, glorious songs and fabulous drag queens, what's not to love? I went to see the show with a little trepidation. You see, I am an big fan of the Kinky Boots film which was released in 2005. The film, I believe, is brilliantly acted and has some fantastic music in it. Its a film full of love and sadness, prejudice and comedy. Overwhelmingly though its a film full of messages. firstly to accept people who are different. Secondly, to not judge people on first impressions before you get to know them. Lastly and most importantly, 'the sex is in the heel'. I know that last one, to those of you who are unfamiliar with the Kinky Boots story, might seem a little odd but trust me, it was a brilliant comedic reference.

          Let me start with a brief outline of the story. A Northampton shoe factory owner finds that his business in failing. He goes to London to sell excess stock. Through various events and with influence from a London drag queen, he ends up making shoes for drag queens and transvestites. An odd story I know and a bit unbelievable, but believe it or not but its actually based on a true story. Some may say it doesn't sound like the most interesting story for a film, or even a musical, but trust me when I say it works.

          It will be surprising to a lot of people reading this, that the main drag queen was played by Chiwetel Ejiofor. Many may know him from films such as 2012, Inside Man and Love Actually. At the moment he is in the news for is upcoming film 12 Years A Slave. As well as his work in film, and a couple of TV roles, he has also performed on stage. Most notably as the title role in Othello, for which he received the Laurence Olivier Award for Best Actor in 2008. Most of his roles he has played to date have been very masculine. Understandably for the role of a drag queen however, he had to explore his feminine side. He had to do it in a way however that was sympathetic and inoffensive to the transvestite and drag queen communities. I have seen him interviewed about the film, where he has said that the extras and background artists in the bar/club scenes, who were themselves members of the relative communities, were very complimentary of his performance. I would have to agree with them. He seems like a completely different actor compared to any of his other work. For me that is most definitely a sign of a fantastic and versatile actor.

          Chiwetel's portrayal of Lola was fantastic and I was unsure if it could be matched, or even beaten, on stage. Billy Porter took up this challenge. His career has taken place in America so I am completely unfamiliar with his back catalogue of work. I was able to see a few rehearsal videos of rehearsals on the shows website and I was convinced that at the very least I wouldn't be disappointed. The one and only issue I had, and its so tiny, is that at 44 he might have been a little old for the role. After all, Chiwetel was just 28 when he appeared in the film. Mr Porter however exceeded my expectations. He was brilliant. I wouldn't go so far as to say he was better than Chiwetel, but he was playing it completely differently so I find it hard to compare their performances with one another.

          The other drag queens in the show were, in a word, fabulouse. Some were so 'fishy' (drag queens that could esealy pass for biological women) it was almost unbelievable. Their dancing was second to none and in no way distracted from the story being told. The set was utterly brilliant. I feel that may be as Broadway spends slightly more money on its shows than the West End. It really added to the telling of the story and was like another character in it self.

          The only disappointment I had was that the music in the show was completely different from the music that had been in the film. I had always felt that the music in the film had really suited the story and helped tell it. I guess that may have been how I felt because that's all I knew, I don't know, but I really hoped it was going to be the same in the show. When I realised it wasn't I was a little apprehensive. Cyndi Lauper was the composer and lyricist for the show so I wasn't to worried about the quality, just the fact it was going to be different. Ms Lauper has done a fantastic job and although I prefer the music from the film, I am in no way suggesting I don't like the shows music. It works. It fits on with the story and really works for the stage. all the songs are enhanced by the fantastic choreography of Jerry Mitchell. I guess another thing that annoyed me, but wasn't really a disappointment, was the terrible accents the cast had. At first it was a bit funny, but then it got a little annoying. Thankfully I was to into the story and the music that I kind of forgot the accents a bit, but it was still in the back of my mind. Billy Porter was one of the best out of the cast, as was Stark Sands as Charlie Price. he though will unfortunately leave the show at the end of this month. Another great accent was Annaleigh Ashford as Lauren. Not because its really good, but because its so bad its funny. I'm assuming that was her intention, and boy does it work. Hopefully the accent thing wont be an issue in the West End. 

          This is most definitely a show I feel the whole family will love. I mean when I went there where all ages in the audience and all of them were having a good time and talking about the show afterwards. When it transfers to the West End here in London I can tell you know Ill be going to see it more than once. Tickets and Info