Review: Priscilla Queen of the Desert - Princess Theatre Torquay - 11th April 2016. *THEATRE REVIEW*

*****

Set against a backdrop of Australia's vast outback, Priscilla Queen of the Desert is an wonderfully extravagant explosion of a show which sees three characterful drag queens -Tick (Mitzi), Bernadette and Adam (Felicia) embark on a voyage of self-discovery and acceptance- of themselves and each other; as they take an eventful and fun-filled cross-continent road-trip aboard their enchanting gladioli and leopard-print fake-fur-laden, beaten-up old bus (the eponymous Priscilla)- in search of a new performance-venue and a new scene, from Sydney, to a casino in Alice Springs- where Tick's estranged wife and young son reside.

Duncan James, Adam Bailey & Simon Green; with the ensemble & 'Priscilla' in full swing in 'Colour My World'

From the second the audience took their seats in the glitter-ball festooned theatre, the tone and energy of the evening was set, and a vibrant opening instrumental musical medley from the show's live band, ably directed by Matthew J Loughran, kicked off proceedings in fantastic fashion; and the much-welcome, fun, comfortable, and inclusive vibe; and inducement to indeed, proudly- 'Shake Your Groove Thing'- in this classy production was confirmed.

Sound quality throughout was perfect- even in the loud, pumping tune 'Venus', the bass did not overpower; and the soundtrack selection for the whole show- encompassing other hits such as 'Go West' and 'What's Love Got To Do With It' was varied and warmly embraced. Lighting was crisp and atmospheric and often disco-style, so the latter- exciting and mesmerising; and sets (save for the impressive, striking bus - thankfully now a return to form akin to that from the West End production- which had been lacking in a previous touring incarnation of the show) were mostly simple, yet effective -allowing the unfaltering talent of the eclectic cast to take centre stage.

The trio of lead character-portrayals melded perfectly together, with each role, and actor, bringing something different to the piece:

Duncan James as 'Tick' & 'Mitzi'

Duncan James, (famed for being one quarter of British boy-band Blue fame, amongst previous laudable theatre credits) -who rocked any outfit on the night, however outlandish; and has a set of pins to make anyone jealous- was immediately completely convincing in every way, as Tick, - the gay father, nervous about revealing his true self to his child; and when morphed into in full-drag Mitzi-mode was almost unrecognisable- not only due to the obvious aesthetics of his glamorous feminine wig, make-up and attire; but such was his completely non-butch, clever depiction of the character that was executed with soft, flowing, womanly movements and absolute grace.

James' warmth, strength, genuine sparkle and charismatic, engaging personality, lit up the stage, and his literally dulcet vocals were captivating and struck an emotional chord with the audience; especially when showcased in solo, 'I Say A Little Prayer', and the beautiful and touching, stripped-down duet with his character's son, Benji (on this performance endearingly played by James Ferrier) of Elvis' 'You Were Always On My Mind'.

Simon Green, (last seen in this neck of the woods as poles-apart character, Monsieur André, in 'The Phantom of the Opera' UK Tour) was unparalleled in his version of the slightly older, and perhaps -at first- jaded, character of Bernadette; his stand-out characterisation played with empowerment yet humility, and full of absolute, exact, fast-paced wit, style and poise.

Plenty of added laughs, extra showbiz pizazz and show-stopping numbers such as Kylie's 'Confide in Me' were delivered by the deliciously OTT zany Adam / Felicia (Adam Bailey) - whose spectacular outfits, and command of them- even in a show of this spangly-magnitude and exquisite costumery- were an extra-special sight to behold.

The whole supporting cast thoroughly 'held their own' throughout the entirety of this faultless production: from the Outback's sweet, 'hero-of-the-hour' mechanic, Bob (Philip Childs) - and his aptly gruff but impassioned rendition of 'A Fine Romance'; his wife, Cynthia, (Julie Yammanee) and her 'interesting' ping-pong talent!!; and the outrageous and wonderful Miss Understanding (Callum Macdonald); to Marion, Tick's wife and Benji's mother (on this night well-played by Amy Di Bartolomeo); and to the three divine 'divas' (Lisa-Marie Holmes, Laura Mansell and Catherine Mort)- whose wow-factor of divatastic hair-dos and sequin-encapsulated costumes were only surpassed by their dazzling vocals.

An ensemble of around ten made up the rest of this completely professional team- who sang, danced and acted sharply in believable Aussie guise, without ever looking over-rehearsed or precocious; and were natural, smooth and enjoyably convincing.

For all the flamboyance and frills, glitz and glam, rip-roaring comedy, and uplifting music- that had the audience laughing out loud, perma-grins and dancing in their seats-, this is also an emotive, inspirational piece that will warm warm the cockles of your heart. On an emotional roller-coaster with extreme highs to poignant lows, each character's tale was intoxicating and compelling at any level- and the audience members laughed, sang and danced along with them in the lively sections, but also felt their pain in the softer moments.

Ultimately, the key-theme to this fun-packed show is that of love and acceptance- surely something for everyone to take forward into the world; and as such, particularly stirring musical numbers of 'True Colours' and 'We Belong' could not have been more exquisitely apt. Priscilla Queen of the Desert is about being, and embracing, who you are- no matter what- and working it!

The audience dispersed on the night with high spirits, and wide smiles; and undoubtedly wanting to watch this amazing show and first-rate cast again and again

.

Priscilla Queen of the Desert runs at the Princess Theatre Torquay until Saturday 16 April 2016.
For more information and to purchase tickets please visit Princess Theatre Torquay / ATG Theatres website or Priscilla Queen of the Desert musical - official website

Elf: Theatre Royal Plymouth, 11th December 2014. *THEATRE REVIEW*

Photo credit: Alastair Muir



"I'm siiiiiingiiiiing!" My heart is full, and "I'm siiiiiingiiiiing!"
From start to finish Elf the musical is an utterly wonderful, brilliant, heartwarming, electric, endearing, joyously glittery show, -'with bells on'! A glorious explosion of tinsel, twinkle and Christmas magic.

   Based on the 2003, now 'Christmas classic' film, Elf, Michael Rose and U-Live in association with Bord Gáis Energy Theatre, present a faultless Theatre Royal Plymouth production, and European premiere of the Broadway musical; a wondrous spectacular to behold.

Photo credit: Alastair Muir

Every single aspect of this production is outstanding and every attention to detail has been paid.

As we follow Buddy's life-changing journey from his home with Santa in 'Christmas Town' to his adventures in New York where he meets his real father, Walter, & love-of-his-life, Jovie; we are treated to many grand, yet intricate, majestic sets married against an atmospheric and impressive digital-screen backdrop, that swiftly and seamlessly transition into a multitude of environments - creating a wonderfully indulgent, immersive filmic quality. 

Photo credit: Alastair Muir

Beautiful costumes compliment the stunning scenes, whilst a magnificent live orchestra belt out toe-tapping, beaming-smile-inducing 'big-band era' musical accompaniment with finesse.



Photo credit: Alastair Muir

Choreography is incredible and whether ensemble pieces to the big numbers reminiscent of resplendent historic MGM musicals, or individual, sometimes quirky, pieces; it is executed by the cast with exact timing, natural flow and plenty of style.


Sound quality for dialogue, song or musical piece in this production is superb - warm, rounded and with exceptional clarity. Lighting is for the show is aptly atmospheric and magical, and engulfs you into the delightful snow-globe splendour that is Buddy's reality.

Photo credit: Alastair Muir

Direction and stage direction is interesting and exciting, and in every part of this show- whether in actual physicality, or in mood/ambience, - there is a constant multitude of stimuli that captivate and charm.



Photo credit: Alastair Muir

The whole cast all deserve the highest accolades. Fantastic, professional and polished, yet completely genuine and believable performances, are delivered by each and every member, from the entertaining ensemble elves, to jolly Santa himself (Mark McKerracher); vivacious office manager Deb (Jennie Dale) to grumpy 'store manager' (Graham Lappin); to Buddy's winsome New Yorker new family, - dad Walter (Joe McGann), his wife Emily (Jessica Martin), & their son Michael (played by local-boy, Bailey Cameron, on this occasion), and Buddy's, -at first disenchanted, but soon happy- girlfriend, Jovie (Aoibhinn McGinnity).



Photo credit: Tim Goodchild

In an entire company where there are no weak links, and each member of the cast genuinely shines, special mention and applaud must still be bestowed upon the wonderful, incomparable Ben Forster, who takes the lead role in Elf. He assumes the lively, physical portrayal and contagiously endearing and amusing role of Buddy with such natural aplomb and magnetic energy that one immediately forgets about Will Ferrell's previous onscreen incarnation of the seasonal character, and Buddy is no-one but Ben. 

 

Previously onstage in other productions, as Brad in The Rocky Horror Show, and Jesus in Andrew Lloyd Weber's rock opera Jesus Christ Superstar, to name but a few, Ben Forster yet again demonstrates his versatility, infinite talent and stellar prowess, as he consummately sings, dances (and skates!) his way through the show that is the epitome of all things 'Sparklejollytwinklejingly' and cements his standing as one of this country's best performers. Outstanding vocals, an infectious cheeky personality and genuine loveability make for a perfect portrayal of the adorable eponymous character, whose wide-eyed optimism and good humour is inspiration to us all.

Photo credit: Alastair Muir

One cannot speak highly enough of this flawless piece. A wonderful and truly magical, wholly beautiful, sparkly-Christmassy, complete, fantastic show, that definitely appeals to all ages and will undoubtedly become a must on every Christmas wish-list for many years to come.



Book: Thomas Meehan & Bob Martin

Music: Matthew Skylar

Lyrics: Chad Beguelin

Lighting Design: Tim Lutkin                      Video Design: Ian William Galloway

Sound Design: Clement Rawling                Wig & Hair Design: Richard Mawbey

Production Design: Tim Goodchild            Director & Choreographer: Morgan Young

Please visit Theatre Royal Plymouth or Elf the musical (UK) - official website for more information

Review originally written for The Public Reviews 

Radio Times The Musical: Theatre Royal Plymouth, 3rd December 2012. *THEATRE REVIEW*

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

                                                       

Oliver! : Theatre Royal Plymouth, 9th August 2012 *THEATRE REVIEW*

"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 *THEATRE REVIEW*

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 *THEATRE REVIEW*

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.