Memphis

          I was excited at the prospect of seeing this. I'd heard brilliant things about Beverly Knight from when she had been in The Bodyguard and I wanted to see her for myself. I know many people will be shocked I didn't see The Bodyguard but to be honest I wasn't a great fan of the film. The small amount that I did like it, wasn't enough to attract me to see the show. Its a similar reason that even though I'm a fan of Michael Jackson, I have absolutely no desire to see the show Thriller Live. Beverly Knight was by no means the driving force for seeing the show however. The story was ,for me, the main attraction. Its also a Tony Award-winning hit in America. I had to see this for myself.

          The audience was good. A mixture of all ages and backgrounds and that's what I like to see when I go to the theatre. This, the Shaftesbury Theatre, is one of my favourite theatres in London. I was last here for the recent production of From Here To Eternity (you read my review of that here). The auditorium is inviting with comfortable seating and the staff are friendly and welcoming. As I sat down I found my self nervous with anticipation. Something I've never felt before. I certainly wasn't disappointed.

          I feel it a necessity to say that the show has a lot a racism depicted in it, which I know some people out there wont agree with. One must remember however that the show is set in a time where racism was unfortunately the norm. I never felt however that the show overstepped the mark in its language or overall portrayal of this aspect of American, and world, history. The actors put the struggle of black Americans across fantastically, better than I've ever seen it portrayed before. A few people in the theatre were in tears at parts and I must admit I was close to tears at times myself. I think what helps is that the production intersperses the racism towards and struggle of the characters with upbeat moments both in terms of storyline and with joyous songs.

          That's another thing which excited me. I am a great fan of the soul and rock and roll music coming out of America in the 1950s, the place and time in which this show is set. The music certainly didn't disappoint. It's an understatement to call it toe-tapping. If I was watching it in America I could bet money that people would be standing up and dancing, but as it was a British audience we just sat there enthusiastically clapping along. From the get go I was getting chills up my spine and a smile was spreading across my face. The song 'The Music Of My Soul' just spoke to me. Beverly Knight, on many occasions, has been called the 'queen of British soul' and that is most definitely an accolade she has earnt. Her voice is sublime, and the emotion she can put into her music is shocking for someone so young. I couldn't help but smile when her voice echoed around the theatre. Killian Donnelly is also fantastic. yes, he plays the role a little over the top at times but he plays it brilliantly. Engaging at all times and a true pleasure to watch.

          All the cast are brilliant and bring the music and the story to life. They draw you in and ones concentration never falters. I was transfixed throughout. The sets are sublime. Sometimes a little simple and understated, but they are used brilliantly. The costumes are also a sight to behold. David Gallo and Paul Tazewell must therefore be congratulated on their achievements. Sergio Trujillo must also be congratulated on his choreography which, like the music and overall performances, kept me transfixed. Often the dancing in musicals can seem unnecessary and a little over the top. On this production however it fitted in seamlessly and appeared very natural.

          The difficult subject of racism in 1950s America has been portrayed sympathetically yet with an unmistakable truth that is moving and pulls at heart stings. Believe me when I say that even with this tough and often difficult subject, this show is a joy and an absolute triumph of a musical. May it long be in the West End. Definitely one to go and see. I can guarantee you a fun night out.

Tickets and Info

 

Cats

          I have to say, out of all the shows on my blog this was the one I was most excited to see. I went to see it in the early 90s, when it was at the New London Theatre, with my family and I have been in love with it ever since. My two cats are even called Mungojerrie and Rumpleteaser after two characters from the show.

          When it first appeared in the West End in 1981, and even now, people were confused and even angered by the fact it's a story all about cats. 'Whats so interesting about cats? Stupid idea.' is something many people I know felt when I show my enthusiasm for the show. To be honest, I can see where they're coming from. It does SOUND stupid. It is infact a touching and heartwarming story full of love, mystery, suspense and tension.

          The set is fantastic. Wrapping around the edges of the stage slightly down into the stalls and up to the circle. Every bit of the set is used by the cast. Every bit. The cast climb all aver it and walk, well prowel (they're cats after all) though the audience in the stalls and in the royal circle. I went with my sister and we were both commenting on the sets appearance. I mean the bra was big enough for Big Foot's mother and the tyre was the same size as the matchbox, but one can easily suspend belief for a few hours. I mean your going to be watching people dressed as cats singing and dancing around the stage. Before the show began my sister and I were shining a few of the songs from the show. Not loudly but we just couldn't help it. We were stupidly excited.

          I unfortunately have to say though that in my opinion the show, to a certain extinct, has been spoilt. I was going to say ruined, but this might be a little strong. My sister would disagree however. For me I have a very clear image of the show. Most of this has, I will admit, been formed from the 1998 filmed version of the show which I watch at least twice a year. Don't get me wrong though, I have some very clear memories of the show from when I went to see it at the New London Theatre back in the 90s. For instance the stage at the New London is semi-circular and the seats wrap around it. It's not quite in the round, but almost. This, I think, suits the show much better. War Horse is showing there at the moment (you can read my review here) so it's a shame they couldn't put it on there this time around. I also have a very clear memory of, as the opening of the show, many of the cast were in the isles of the audience and had lights that looked like cats eyes on there face/head that periodically lit up so that eventually, combined with the lights on stage, the whole auditorium was filled with yellow cats eyes. This was both impressive and mesmerising. This, unfortunately wasn't the case in the new probuction. A disappointment I was willing to overlook as let's face it, it isn't integral to the show. There were others however which I couldn't be so understanding about.

          I feel that there was a lot more musical interludes and dancing between and during songs. My assumption is that this is because the back of house areas are a lot bigger that they were at the New London Theatre and so ample time has to be given for the actors to get into position. At a few points I found my self thinking 'oh get on with it'. Not the sort of thing one want to be thinking when at the theatre. I also had a nigeling feeling throughout the show that the singing wasn't quite up to the standard me that I remember, but this is probably because I'm used to the high production quality of the filmed version.

          Perhaps the biggest disappointment, and something that almost ruined the whole show for me, was the song The Rum Tum Tugger. This is one of my favourite songs in the whole show, however it has been change to beyond almost all recognition. John Partidge who played the role in the film, as well as Paul Nichols in the original london cast, played this role fantastically. They just oozed sexual energy. However in this production the song has been transformed from semi rock into a sort of hip-hop/rap thing. They guy that sings it, Antoine Murry-Straughn, is good but it's just a change to the show that was compleatly unnecessary. It ruined a perfectly good song, and it's all I could talk about for a while. Rum Tum Tugger features in another critique. Not a disappointment, as I'm fairly nuetral on this matter. For me, another song I enjoy is 'Mr Mistoffelees' sung by Rum Tum Tugger. It's a fun little song and the show that Mr Mistoffelees puts on during it is great. I never really thought much about a male cat singing to another male character. However in this show there is no denying from the interaction of the characters that it's a love song. One almost felt that as soon as they left the stage they'd by jumping on each other like a pair of rabbits. Now don't get me wrong I have no issue with a gay relationship being portrayed in any way, however it was coming on very strong and was actualy for me slightly awkward (says the man who watched the bumping and grinding of near naked men in Pricilla Queen Of The Desert).

 

          Now I had the pleasure of managing, at fairly late notice, to get tickets to a performance where Grizzabella was played my Nicole Scherzinger. As great as she was, she was never thrust to the front as the main star of the show. She even takes her bow in the middle of the lineup, not right at the end like the celebrity star or main character normally does. Her role is only small, though the song Memories has become iconic. In fact it's one of only a few songs that make me cry. From the first cord I can feel myself welling up. As great as Nicole was I couldn't feel emotional with her singing however. Like other aspects of the show, I may have a preference to the film version simply because I've watched it so many times. Elaine Paige played the role in the film as well as in the original London cast (a last minuet replacement for Judie Dench who had to back out of the role after receiving an injury during rehearsals). Her singing was good, don't get me wrong, but for me there was no raw emotion. It seemed to me like she was showing off her talent, which no one can deny she has, rather than trying to put emotion into the song. She's also meant to be the washed out glammor cat. Instead the costume department have made her look really glamorous and glitzy, all be it with a few shabby bits here and there, unlike the image the rest of the cast put across when singing about her. I never saw her as this before, but I get the overwhelming feeling like she's the slut of the cat world. I've never felt that before. maybe that's true, and I was to innocent to realise it when I was younger. all I know is that that is how I felt about her during the show. I watched the film this morning and with Elaine Paige's performance that feeling completely vanished.

          I don't think you'll be able to see it with Nicole in it now as tickets are extremely hard to come across, but Kerry Ellis will be taking over the role. Definitely a show to see and a great one for the whole family. If taking children to the theatre for the first time this is one to consider. I would have given it top marks, but as there were a few disappointments for me and I don't give half stars, I had to go with just four. This production is going to be in Macau, China in March and later this year in Paris. Tickets and Info

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