Radio Times The Musical: Theatre Royal Plymouth, 3rd December 2012

The song "Hey Little Hen" is playing in my head, bringing a big smile to my face as it does so; - that can only mean one thing- the Watermill Theatre's touring production of Noel Gay's Radio Times The Musical is a joyous, overtly enjoyable and unforgettable show, that leaves you uplifted and chock-full of delightful, warm, entertaining memories.

The show is set within Piccadilly's Criterion Theatre during 1940's war-torn London. As an audience, we initially view the cast of the radio show Variety Bandwagon finding and rehearsing material for their imminent 'on-air' programme and their comedic antics as they endeavour to dodge strict BBC content & licensing policies and the wrath of BBC producer Heathcliffe Bultitude (John Conroy). We then assume our role as the 'real' audience to the 'actual' transmission of the radio broadcast- complete with a brief 'breaking the fourth-wall' to an audience member and our amusing participation in following the commands of the applause prompt cards that pre-empt each performer's on-stage entrance and exit.



Gary Wilmot in full swing as Sammy Shaw.  Photo credit: Robert Day
 

Against this backdrop, in part, is the poignancy of the war-stricken time. Alongside are the stories of gadabout Sammy "I'm doing it" Shaw (Gary Wilmot) and his somewhat neglected girlfriend Olive James (Sara Crowe); the, at first, unrequited love of shy, skillful foley artist Jeeps, (fantastically played by Christian Edwards), for lead ensemble-lady, Amy Chapman (Vivien Carter); the emergence of Olive's old-flame, film-star Gary String (Michael Hobbs) and many 'off-stage' laugh-out-loud jolly japes and humorous puns, that stay just on the right side of cheesiness, tickle every rib and keep you chuckling and easily beaming throughout. 

Wilmot is the perfect showman, the epitome of charm, charisma, talent and exact, yet natural, comic timing.


Wilf (Ben Fox) is totally in sync' as Sammy's right hand man and often other half to his witty banter, helping to deliver believable one-liners and punchlines, that however occasionally predictable, will have you rolling in the aisles.



Radio Times The Musical cast.  Photo credit: Robert Day

Not to overlook the rest of the players- this is a cast truly worthy of name-checking each and every member. Swiftly & seamlessly moving from one guise and stage-position to another- not only do the whole cast act, sing and dance wonderfully, with convincing and pleasing character portrayals; they are extremely multi-talented and versatile as they superbly provide all the musical accompaniment whilst on-stage too. Whether in fabulous, amazing, synchronised ukulele or kazoo playing (!); or from drums to clarinet, piano to saxophone.

   The calibre of the latter, along with excellent sound production, creates a wonderful rich, 'big band' sound, in which every facet, musical note, and instrument has clarity & impressive audibility, and only adds a further dimension to the already hugely enjoyable show. This cast hit all the targets; definitely 'triple-threats' and then some!

The simplistic set of the period radio sound-stage is honest and credible, and lighting is on-the-ball: atmospheric and unobtrusive, but accurate; even from a distance the actors' features are clear & crisp.

Although overall a simple narrative, the show is bursting at the seams with high velocity, punchy, all-round brilliant entertainment, sing-along catchy songs, some crazy-but-fun, off-the-wall lunacy thrown in for good measure; and a complete consummate, professional cast overflowing with genuine star quality.

If you haven't heard of the show before- do not worry. If you haven't heard of the songs- do not worry. As soon as you step into the world of Radio Times The Musical, it becomes an instant, well-loved, familiar favourite, that will keep you smiling and laughing insanely for weeks.

Book by: Abi Grant & Alex Armitage
Music: Noel Gay
Choreographer: Alistair David
Musical Director and Musical Arranger: Paul Herbert
Director: Caroline Leslie

Please visit Theatre Royal Plymouth , Radio Times The Musical or Watermill Theatre for more information.

Review originally written for The Public Reviews

                                                       

Swan Lake by the Birmingham Royal Ballet: Theatre Royal Plymouth 11th October 2012

 

BRB Swan Lake - Nao Sakuma and Chi Cao. Credit Bill Cooper

BRB Swan Lake - Nao Sakuma and Chi Cao. Credit Bill Cooper

 

 

Tchaikovsky's wonderful 19th Century masterpiece about the quest for true love is exquisitely brought to the stage in the highest calibre that only the very best ballet companies such as the Birmingham Royal Ballet can deliver.

  An immensely talented group of artists from this world-renowned Company present the fated, yet ultimately euphoric, story of Prince Siegfried's search for his perfect partner; his love affair with the beautiful enchanted swan-princess Odette.

  From the moment the first curtain pulls back to reveal an imposing austere and completely convincing scene of a courtyard in the Prince's castle, the audience is swept away to the magical realm of this perfect depiction of this well-known & well-loved beautiful classic ballet. Like a window on a flawless encapsulated fairyland; the eye is drawn into each nuance of this mesmerising and engulfing production.

  Every attention to detail has been paid, from the grand scenery, depicting both the Prince's majestic court and the magical moonlit lakeside; to the delicate, multi-layered and coloured, rich, opulent costumes and the atmospheric lighting that showcases and picks up every minute element. Of course the superb dancing is without comparison. Even the most simple sauté in first position or delicate pas de bourée is executed with such exact fortitude, grace and style that it is visualised from the audience-perspective as the most complex piece of footwork.

  Iain Mackay as Prince Siegfried is as agile and becoming as he is commanding and athletic. Enigmatic and astounding in every scene, nothing detracts your focus from him and his breathtaking interpretation when he is on-stage.

  Jenna Roberts as Swan/Black-swan Odette/Odile is graceful and articulate with each creative impressive movement. Her whole performance, whether as good-swan Odette or dark twin-like counterpart with glamour façade, Black-swan Odile, is captivating, strong yet gentile; not least when demonstrating a fantastic run of accomplished fouettés.

   Special note to William Bracewell who plays Benno, Prince Siegfried's friend:- who even just for his multiple, tight, elevated entrechats and quadruple-pirouettes must be applauded.

   Also outstanding, are the ethereal swans and cygnets en masse, who are cohesively appear to move as one being and are utterly heart-stirring and stunning. A particular memorable moment is the movement in which they demonstrate their prowess, amazing strength and mastery of lines in arabesque form to a pounding, regimental score.

   The whole piece is backed up by wondrous, awe-inspiring orchestration, that gels so well with the on-stage action that it seems 'part and parcel' of the complete work and infinitely attached to each piece of intricate footwork and graceful arm-movement

   This is an absolutely decadent, captivating example of a incredible, intoxicating ballet and Company. The myriad of sweet memories of this production will stay with you for a lifetime; simply not-to-be-missed.

Music: Pyotr Ilyich Tchaikovsky

Choreography: Marius Petipa, Lev Ivanov, and Peter Wright

Production: Peter Wright and Galina Samsova

Designs: Philip Prowse

Lighting: Peter Teigen

Royal Ballet Sinfonia: Conductor: Philip Ellis; Leader: Robert Gibbs

Please visit Theatre Royal Plymouth or Birmingham Royal Ballet for more information.




Review originally written for The Public Reviews

Blood Brothers; Theatre Royal Plymouth, 25th September 2012

WOW. This is theatre at its most captivating, touching and best.

From the moment you are greeted with a simplistic dark stage, punctuated with minimal beams of red light, your mind is focussed and alert, ready to absorb every drop of this masterpiece.

The stage gradually becomes more illuminated, and reveals a run-down 1960's working-class residential urban neighbourhood set against Merseyside's twinkling city skyline featuring the famous Royal Liver Building clock towers. Don't be fooled by this alluring backdrop, there are dark undercurrents afoot.

The story is about the lives of twin boys, who for reasons that become apparent, grow up within separate households and social class. It questions at various stages, whose life is better, and addresses in depth the 'grass is always greener' idiom, covering their lives and loves; before ultimately, tragedy strikes.

The show is a compelling watch from the start. Not so much a musical in the traditional sense as perhaps one would expect; but more an exquisite dramatic theatrical piece that has 'happens to have' musical numbers within it. The gripping opening scene featuring two corpses sparks intrigue, conveys a sense of stark gravity and has you on the edge-of-your seat from the off. As Niki Evans, as the emotionally wrought twins' mother Mrs Johnstone utters the first line of Tell Me It's Not True; already the profound atmosphere is tangible and audience members' emotions are running high.

Evans continues in excellent convincing form throughout the show as the often optimistic, yet long-suffering superstitious Liverpudlian matriarch on hard-times. She is strong, melodic and accurate in her performance. One of the main, recurring songs that Evans sings is the catchy Marilyn Monroe. This number takes on many guises and is Mrs Johnstone's vocal narrative to many scenes, whether joyful and comedic, poignant, or matter-of-fact.

Tracy Spencer and Tim Churchill are well cast as the upper-class desperately childless Lyons couple, who bring up twin, Eddie.

The whole company take on many roles throughout, and are adept and highly skilled in morphing into many diverse characters, from many walks of life, of various ages.

In particular Sean Jones and Jorden Bird as the two separated brothers and best friends Mickey and Eddie; and Olivia Sloyan, as their mutual friend/love-interest Linda; excel in portraying endearing turbulent characters that begin onstage as innocent 7-year-olds who know no measure of social boundaries or presumed/assumed 'class' distinction; transitioning seamlessly to gawky love-struck teenagers of fourteen; through to fifteen, sixteen, seventeen, and eighteen year-olds; then grown-up, worlds-apart, life-experienced, mid to late twenty-somethings.

Marti Pellow is thoroughly astounding as the commanding, suave, omnipresent Narrator. As the 'devil on the shoulder' of the two maternal guardians of the twin boys, he is as louring as the onstage North-Western sky, and is wonderfully imposing and hypnotic even when his character is taking a more subtle approach. His foreboding timely reprises of Shoes Upon the Table and punchy rhythmic rhyming monologues about the onstage web of deceit are exciting and executed with engrossing elocution. Throughout, Pellow's mesmerising vocals are clear, strong, multi-faceted and electrifying.

Duets between Marti Pellow and Niki Evans are harmonised perfectly and sound like a thousand voices in perfect synchronisation, such is the artistic melding yet power and depth of their voices.

Powerful, apt orchestration, and superb lighting sets each scene impeccably, and add essential dynamic to the dramatic effect.

It is hard not to write merely a list of superlative adjectives to describe this show: shocking, hard-hitting, powerful, enticing, absorbing, touching; ...amazing. Although plot, music and execution and the like are standalone, truly notable, and of distinction; it is the immense overwhelming rush of emotions and feelings that one experiences both during and after the show that is ingrained in your soul and whole psyche, that supersedes each individual theatrical element and is embedded in you overall.

The final scene & full rendition of infamous and beautiful Tell Me It's Not True by Mrs Johnstone and the full company, is stunning, gut-wrenching perfection.

Not only the audience, but also the cast had tears in their eyes at the end of this outstanding show.

Sometimes the word awesome is overused.

In this case, it is not.

Oliver! : Theatre Royal Plymouth, 9th August 2012

"Please, Sir, I want some more" is the iconic line we all associate with various incarnations of Oliver Twist; and that is exactly how this incomparable show leaves you feeling- thirsty for more!

From the second the cast of over fifty takes to the stage, you are swept away to murky, misty Victorian London, intriguing idiosyncratic characters and the plight of poor orphan Oliver.

The high energy opening number Food, Glorious Food by the 'Plymouth Workhouse Kids' is a polished performance with strong vocals, clear diction, synchronised smart choreography, and great fun; this sets the tone for rest of this superb, cohesive, professional, amazing show.

Impressive sets on a grand scale are swiftly and unobtrusively moved; and our environment morphs between convincing hustling bustling London streets lying in the shadow of St. Paul's Cathedral to the dark underworld of Fagin's backstreet lair and home of his gang of child-thieves.

Oliver (on this occasion: Sebastian Croft) truly shines, especially in the solo Where Is Love- Croft's beautiful, rendition fills you with awe. Completely mesmerising, his pitch-perfect sweet earnest ballad, set against subtle lighting has you totally transfixed and gives you goosebumps, it is so believable and emotive.

Cat Simmons as Nancy supplies an equally poignant, engaging performance as she pours her character's heart out; with a wonderful tone and clarity singing the heart-wrenching As Long As He Needs Me. The character's painful internal wrestle of feelings associated with her abusive lover Bill Sykes (Iain Fletcher) is clearly visible and the audience are left in no doubt of the inextricable battle between her unavoidable entwined emotions of love and hate for him. Simply astounding.

Simmons is equally adept and captivating when leading the second-half ensemble 'knees-up' piece, Oom-Pah-Pah, which offers the audience a welcome opportunity to throw themselves into the mix and to sing and dance along.

As we are taken through Oliver's journey from an orphan on the wrong side of the tracks, to the grandson of well-to-do gentleman (warmly played by Stephen Moore), the audience are transported to a myriad of inspiring scenes and settings. Set against this backdrop are the numerous well-known and loved songs, that despite being familiar, are performed with such verve and voracity that they are given a three-dimensional profundity and richness that makes them feel fresh and new; the real, true voice of the characters leaping out of the stage.

Daniel Huttlestone (at this performance) plays the other lead-child role with all the charm, swagger and cheek that you would hope for. He is an acomplished a dancer as his character is a natty dresser, and especially showcases this talent when welcoming Oliver to the gang in cheery Consider Yourself.

Iain Fletcher is powerful and convincing as the menancing, murderous thief; the yin to Nancy's yang, Bill Sykes. He plays the role with a commanding authority, yet subtle depth that implies a deep persona that has no bounds within the realms of evil and despair. Despite his character's dark personality and agenda, Fletcher similarily suits the comedic banter between Sykes and Fagin (Brian Conley) that arise when the two are dealing in their ill-gotten gains.

Fagin's complexity of character in that of predator and guardian is deftly executed by Brian Conley and he is charismatic and suitably amusing as the eccentric, wily gang leader that despite his dubious activities and lifestyle is enchanting and somewhat endearing. Reviewing The Situation is a delightful performance that captures the attention and showcases Conley's excellent vocals; supported with an outstanding presentation of the score by the orchestra.

Excellent moments of light-relief from the scenes with more gravitas are delivered by the overtly comedic pairings of Mr & Mrs Bumble (/ Widow Corney) (Jack Edwards and Clare Machin respectively); and that of the dark Tim-Burton-esque comedy of Mr & Mrs Sowberry ( David Langham & CJ Johnson respectively).

Throughout the show, every attention to detail has been paid to set, costume, sound, lighting, choreography and direction; which provides a fully-rounded, consuming quality show that is wholly brilliant. There is always something in every corner of the stage to captivate, and catch your eye. A lively rousing visual and atmosphere is smoothly juxtaposed with sometimes shocking, violent actions; dark undercurrents and sombre mood. Your heart is with every character as they take the stage; and you feel every sadness, fear, and anxiety, just as you do each second of love, warmth and euphoria, along with them.

Oliver! has something for everyone- exemplified by an audience that ranges in age from 8 to eighty

Go, see it now! You'll love it.

Wonderful Town: Theatre Royal Plymouth, 26th June 2012

What a wonderful town Plymouth is, especially now that Wonderful Town has rolled into the Theatre Royal.

This is an upbeat, brilliantly entertaining, fun show, that has you tapping your toes, clapping your hands and laughing out loud.

Admittedly, the plot is a little loose,- fluffy, if you will; but that's half the charm. As one audience member put it: "The storyline has as much depth as the veneer on plywood" but, he continued:
"it doesn't matter, it's thoroughly entertaining, a consummate performance- oh yes, it's great"; and I agree!


Set in 1935 in Greenwich Village, New York- two sisters Ruth (Connie Fisher) and Eileen (Lucy Van Gasse) arrive from Ohio in search of work, new lives and escaping the constraints of a small town. They meet a myriad of folk with wide-eyed optimism about the future; the frenetic, sharp opener Christopher Street illustrates this as the Tour Guide sings "life is sweet, some interesting people on Christopher Street"- as the girls encounter an eclectic array of characters ranging from an artist to a football player to a Hare Krishna devotee.

The two sisters have completely different personalities that lead them to interacting with different people and situations, and we are taken on a uplifting musical journey as they try to settle into the neighbourhood, looking for work and love.

Connie Fisher as the apparently more reserved and inhibited Ruth, sings a variety of slow and faster-paced numbers wonderfully with aplomb, and is full of slap-stick genius- presenting the perfect balance between submergence in her role and forthcoming entertaining swagger /stage presence. Lucy Van Gasse adeptly showcases her interesting and distinctive tone of voice as the more attractive, ditzy sister Eileen.

Newspaper Editor and Ruth's love interest Bob Baker (Michael Xavier), has a natural, relaxed voice and stage presence, and delivers very powerful impressive vocals at various points throughout the show; whilst Frank Lippencott ( Haydn Oakley) provides a comedic, endearing performance as one of Eileen's many suitors, that is slightly evocative of a Jerry Lewis film character with a dash of 'Pee Wee Herman' thrown in for good measure. Nic Greenshields is great as '"Noy Yawker" 'Wreck Loomis' - a neighbour and American Football player; and shines in his energetic, funny, catchy, solo number 'Pass the Football'.

Every song and routine stands out in its own way- from the sweet homesick lament of Ohio; the rather touching performance A Quiet Girl; to rousing zingy, zany numbers such as the Irish-themed My Darlin' Eileen; and the amazing, energetic 1st-half closer Conga! - that will have you dancing in the aisles!

Special attention must be paid to the superb, exquisite direction and choreography- from full-cast big dance numbers (including lifts & aerial/acrobatic stunts); to the simulation of Eileen & Ruth getting dressed for the day, and hopping on and off the jam-packed New York Subway. The latter is executed with the rest of the company physically making up the background of the scenes and helping to seamlessly move the lead performers into various positions and settings, along with the props; therefore accurately creating atmosphere and physicality of each setting.

The set is made up of imposing Art-Deco clean lines-meets neon-central, & this fully conveys the air of the lively city, and the mood and design of the era, with excellent finesse.

This is a great, fun, thoroughly enjoyable show. Everybody Conga!

South Pacific (Lincoln Center Theater production): Theatre Royal Plymouth, 12th June 2012

Seabees singing 'There Is Nothin' Like A Dame'. Photo Credit: Simon Annand

"There Is Nothin' Like A Dame"; or a man in uniform, for that matter- & South Pacific covers both bases with gusto.

Set on an island in a Polynesian cluster near the Solomon Islands against a backdrop of the Second World War & Japan's attempts at military advancement towards Australia; South Pacific is an upbeat window on the antics of the inhabitants of a remote U.S Army base juxtaposed with poignant, touching moments & a dark undercurrent of the serious issue of racism.

At the forefront of the narrative are two developing love affairs- that of couples with individuals from very different backgrounds, yet their stories prove that love can transcend even the most difficult of apparent boundaries. The first is the relationship between Emile de Becque, a French national & plantation owner who lives on the island, & Nellie, a U.S ensign & nurse. The second, that of the romance that Lieutenant Joseph Cable of the U.S Army seconded to the island & Liat, a polynesian girl native to the South Pacific share.

Emile (Matthew Cammelle) is a strong character with an intriguing, fairly closed past. Cammelle is superb & completely convincing in this role- an unfaltering accent & stage presence, & superb, committed delivery of his songs. Nellie (Rebecca Thornhill) is a fun-time beauty from a small town in Arkansas, who comes to the island with, initially, a small-town mindset, and takes a journey in overcoming her taught prejudice over the course of the show. Thornhill is initially fairly unengaging- whilst executing all her numbers with poise & accuracy, one feels there is an element of magic or real believability about her portrayal lacking. However, by the second half, when the show takes a faster pace, she appears much more entwined with the character, & reclaims the real essence of Nellie with vigour.



Alex Ferns as Luther Billis. Photo credit: Simon Annand

Alex Ferns delivers an inimitable comedic performance as the wheeler-dealer bartering entrepreneurial protagonist of the Seabees, including an excellent hilarious dragging-up during the rendition of Honey Bun at "The Thanksgiving Follies" after the interval; & Jodi Kimura is excellent as the islands' wily shrewd souvenir-selling businesswoman and mother of Liat.






Not forgetting the emotive and powerful representation of the young Lt Cable by Daniel Koek, that is reminiscent in parts of Gordon McRae's portrayal of Billy in the film from the same creative stable, Carousel.                                                                                  

Daniel Koek as Lt Cable
& Elizabeth Chong as
Liat.  Photo Credit: Simon
Annand

The ensemble present much of the well known numbers such as Bloody Mary and I'm Gonna Wash That Man Right Outta My Hair like a slick well-oiled machine, and one can be forgiven for thinking that they have stepped straight from the celluloid of Rogers & Hammerstein's original screen version, such is their compelling, cohesive, punchy execution of their numbers. The cast playing the marines excel particularly; notably Stephen John Davis (Seabee) (Phantom, Les Miserables)- watch out especially for his excellent solo delivery aboard the on-stage 'plane of the infamous end line in There Is Nothin' Like A Dame - demonstrating great vocal-range & voice-control, & is exceedingly entertaining to boot!

The set is fairly simple in design, yet has a real feeling of depth, perspective, and realism. Every scene change successfully transports the audience to the different scenarios, without question, and is completed swiftly & deftly. The lighting is atmospheric and appropriate; and the sound is perfectly set according to each scene/performer and has clarity second to none, fully enriching the enjoyment of the show.

South Pacific is a must-see- a roller-coaster ride of themes and emotions that will have you humming the well-loved songs all week, and leaving the theatre with a broad smile on your face.

 

Book by OSCAR HAMMERSTEIN II & JOSHUA LOGAN

Music: RICHARD ROGERS ; Lyrics: OSCAR HAMMERSTEIN II
Adapted from the Pulitzer-prize winning novel Tales From The South Pacific by JOSHUA LOGAN


Please visit Theatre Royal Plymouth or SouthPacificOnstage.com for more information.