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