Category Archives: Musical

Viva Forever – Piccadilly Theatre – Review

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I’ll be brief and to the point, I’ve wasted 75 minutes of my life watching the first half of this show and I don’t intend to waste much more writing about it;
It is the worst show I’ve ever seen. Everyone from producers to cast and creatives should be thoroughly ashamed.

Instead listen to the original songs or watch the Spiceworld movie (which is better than this show, and that’s saying something!)

Do not waste your precious life and money on this piece of theatrical tat. Let’s hope it closes soon, there was a very poor turnout tonight,
so here’s hoping.

It’ll not “spice up your life” it’ll simply waste it.

STARS : not even worthy of 1 star.

Ps. For the record, I actually like the Spice Girls and their music, I even own 2 of their albums!

Once will not be enough. Once – Phoenix Theatre London – Review

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Once Title

I had few preconceptions or expectations as I made my way to The Phoenix Theatre to see Once last night, I only found out it was based on a film at the weekend when a friend told me! All I knew was that it had won a slew of Tony Awards on Broadway and it was set in Dublin. A city I fell in love with when I visited it in 2011.

Once is a musical that is so emotionally, musically and theatrically different to anything else on a West End stage at present. Since leaving the theatre its melodies, emotions, images and thoughts have lingered like few productions do.

The cast are actor/musicians each playing a part and various instruments. The playing is superb and invokes the emotions the main characters Guy and Girl go through, whilst telling the story of the book.  It really is  an ensemble piece, each person has their own story which you’re drawn into. The ensemble stay onstage throughout and accompany the songs as applicable.

Declan Bennett as Guy and Zrinka Citesic as Girl

Declan Bennett as Guy and Zrinka Citesic as Girl

This is a  lyrical show and has a more relaxed pace in keeping with the people and setting. This was a refreshing change. It was lovely to sit back and be charmed by this gentle tale.

Bob Crowley’s set is one of the most simple, yet creative and clever I’ve seen. An effective use of mirrors and lighting takes us through various locations even though the set is a fixed Dublin bar. A nice touch is the bar is open for business before the show and during the interval if you fancy a drink onstage!

The pre-show onstage bar with cast playing for us, a brilliant idea.

The pre-show onstage bar with cast playing for us, a brilliant idea.

For me though, I finally feel like there has been a musical written for me,  about people, and emotions that are relevant to me, a youngish man in a city with his own hopes and dreams. I must also highlight that any men out there who say “I don’t like musicals” fear not if your other half suggests a trip to Once. It’s more like a shindig at your local with an emotional punch than a “jazz hands” musical you may have been dragged along to in the past.

Glen Hansard and Marketa Irglova’s songs are gorgeous. I purchased the soundtrack straight after seeing the show, I was so keen to hear it again. On my way to work today listening to it in the car I was again blown away by the beauty of the melodies and lyrics. Being set it Dublin there are also a few that get your toes tapping too. The songs  If You Want Me and Falling Slowly have stayed with me like few melodies do after a musical.

This is a musical with soul. No superficiality, no glitz, no, this is an emotional tale told with raw heartfelt gusto. Just what the West End has been crying out for.

It’s a show about love and I’m head over heels for it. Once will not be enough for me I’ll be back soon to take it all in again.

STARS : ★ ★ ★ ★ ★

Tickets can be bought from : Shows In London

Wicked – The Apollo Victoria Theatre – Review

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Wicked

I saw Wicked when it originally opened way back in 2006. I thoroughly enjoyed it and so the opportunity to revisit it all these years later was something I was keen to do.

How has it weathered these last 6 years?

Well it was a Tuesday night and the place was packed, with a hugely diverse bunch; tourists, families, couples, young, old and me the critic! The Apollo Victoria is a large theatre to still be packing the crowds into, the fact that this show is still doing that is testament to the quality of the show. Overhearing a few conversations during the interval also revealed a great many around me were on their second viewing (like me) or had been 3/4 times already. What keeps drawing people back for more?

Firstly it’s a well structured musical, it has a constant climb culminating in the jaw dropping Defying Gravity that closes  Act 1. This is then continued through Act 2. The story is a very clever take/prequel on the Wizard of Oz. Which appeals to young and old alike. It has a moral to the tale, but it’s cleverly woven into the text and never feels preachy. I’d also forgotten how much humour there is in the show, some genuine laugh out load moments. It’s always argued that a musical needs a great story first and foremost, Wicked certainly does.

Musically it is a superb score, again I’d forgotten how good the songs are AND how witty and clever the lyrics are as well. I was reminded why this show caused such a stir when it arrived in London back in 2006, finally we had a new musical that wasn’t a rehash of some old pop songs. The songs cover the whole gamut of emotions from comical to tear-jerker to songs that just blow you away.

Normally I buy a programme before I take my seat, when I go to a show. Last night I thought “no need, got one from last time.” Yet the moment Act 1 was over I rushed out to foyer to purchase one as I HAD to know who this phenomenal cast was and especially who was playing Elphaba and Glinda.

One of the greatest Musical Theatre performances I've ever seen - Hayley Gallivan as Elphaba.

One of the greatest Musical Theatre performances I’ve ever seen – Hayley Gallivan as Elphaba.

Hayley Gallivan was Elphaba, in what is one of the best musical theatre performances I’ve ever seen, outstanding vocals, that literally had the hairs on the back of my neck raised as she sang, especially Defying Gravity. She commanded the stage as the “wicked” witch and communicated the journey this complicated character makes with skill and sensitivity.

Michelle Francis was the “good” witch Glinda in what was another sublime performance. Her interactions with Elphaba were superb and in her songs she got to show her fantastical musical talents.

The show is really all about those two characters, and rightly so, but the rest of the cast gave their all, to me that’s what I was most impressed with, the cast came out from first second and gave their all to this show and didn’t stop until the curtain fell at the end, to standing ovations and rapturous applause, whoops, cheers and me crying out “BRAVO!”

So what more could you want? Great score, clever lyrics, a story that’ll make you laugh and think, a cast going at full throttle , stunning costumes, a set that is magical and 2 of the best performances on the London stage. I certainly won’t be leaving it another 6 years before I return to be caught up in the magic of the witches that is Wicked.

STARS : ★ ★ ★ ★ ★

For great deals on tickets for Wicked go to Shows In London.co.uk

Singin’ in the Rain – Palace Theatre, London – Review

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Finally the time had come for me to see Singin’ in the Rain. Would I find it a splashing success or a damp squib?

The story of the show is very much of its time, but it’s a fun story set at the cusp of silent movies changing to talkies. The score contains many well-known songs and you’ll find yourself tapping your toes to numbers such as Make’em laugh, Moses Supposes, Good Morning and the title song Singin’ in the Rain.

A show with three star performances – Adam Cooper, Scarlett Strallen and Daniel Crossley.

The leads of Adam Cooper, Scartlett Strallen and Daniel Crossley, give stunning performances. Adam Cooper’s dancing is effortlessly sensational. My wife has always raved about Adam Cooper as she’s seen him in his former days in the Royal Ballet and she saw him last year in White Christmas I can see why she rates him so highly now.

Scartlett Strallen was a triple threat par excellence, precise dancing, great acting and sensuous singing, she was a pure joy to watch. Her numbers Would You? and You Are My Lucky Star wooed us all, simply beautiful.

Daniel Crossley stole the show for me though, his character Cosmo has some of the best lines and laughs, but he really was the one to watch and he was top of his game be it acting (including some great physical comedy), singing and dancing. His Make’em Laugh was a high point of Act 1 and the show overall I’d say.

Daniel Crossley makin us laugh

Katherine Kingsley as Lina Lamont, has to create an ear shattering and awful voice, no mean feat, her vocal warm up must be the toughest in the West End! She carries her part with great humour and fills the huge Palace theatre with her performance, a really tough part but she gave it her all and the incongruous voice with the beautiful hip swinging woman is a great comic touch to the show.

The biggest part of this show is the rain though. I’d opted for dry seats in the Dress Circle, but as the rain came down there was a collective excitement as we saw Adam Cooper re-create the iconic dance and we rejoiced as he splashed those in the front few rows of the stalls.

Regular readers will be wanting to know one thing though – How does it compare to Top Hat?  Which I went to the opening night way back in April and I review here.

Well this is a better show in my opinion, the story while still rather twee is much less improbable than Top Hat and the humour is better too. The cast also had space to move and so the choreography felt smoother and more spacious. Adam Cooper is a better leading man than Tom Chambers, although I actually think Daniel Crossley is the star of Singin’ in the Rain. It would be unfair to compare the Strallen Sisters, but I have to say they are equally wonderful and I honestly don’t think one is better than the other. (I’ll have to see Zizi in her next production to see if it’s a trio of triple threats in that family) This show had better chemistry between its leads and an exuberance and effortlessness that I just didn’t feel in Top Hat.

Apparently it’ll need to run for 40 years to use an Olympic pools worth of water!

If you could only see one of them, this would be the one I recommend. This productions set, choreography and cast, give it that edge and wow factor I thought was missing from Top Hat.  If you are after an evening (or matinée) of pure classy escapism, this is the perfect show.

STARS: * * * * (and a half)

Here’s the promo video:

Chicago The Musical – Garrick Theatre London – Review

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All good things must come to an end

The news came out yesterday that Chicago was closing on September 1st. It immediately shot to the top of my list of “things I want to see”. In fact I went last night thanks to TKTS and their bargain tickets.

Lots of friends have told me to go and see Chicago over the last 15 years. I wish I’d heeded their advice sooner, I was bowled over and  I’VE FALLEN IN LOVE WITH THIS SHOW.

It’s stylish, witty, has great tunes, a brilliant band (that are on stage throughout, which I really appreciate as I like to see the musicians especially as they’re such an integral part of the show) and the most beautiful cast on the West End stage (both guys and girls). It’s become an iconic piece of theatre with  a style all of its own.

The cast was so slick, Sarah Soetaert was the feisty Roxy Hart, cheeky, flirty and fun.

Rachel McDowall as the vampish Velma was stunning, her dance moves were perfect and those high kicks she does, wow!

Raza Jaffrey is Billy Flynn, I can see why this role has been so sought after over the last 15 years, not just because of the sexy ladies you are surrounded by, but it is a great part with some gorgeous songs especially his number All I Care About. Raza Jaffrey’s silky baritone voice, good looks and charm were everything Billy Flynn should be.

I was also surprised by the creative and clever staging of this show, the snazzy black costumes, and the company playing multiple roles helped to keep the pace flying and the choreography was as breathtaking as I was hoping it to be.

It’s one of those shows where the cast and band were clearly having a great time and their passion for the show was contagious to the audience. I’ve seen a lot of West End shows and a lot of talented casts, Chicago’s are up there with the best I’ve seen.

If you like me haven’t got to see this in the last 15 years put it top of your list NOW and catch this before it closes. The sexiest, stylish show is taking its final bow, make sure you’re in the crowd whooping and cheering the razzle dazzle that is Chicago The Musical.

STARS : * * * * *

Love Never Dies – Version 3 – Melbourne, Regent Theatre/DVD – Review

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Third Time Lucky?

I’ve followed Love Never Dies with an attentive eye throughout its turbulent existence. I saw the original version and the updated version in London.  As I said there, I enjoyed each production and thought the changes made in version 2 were a good remedy. The score is certainly one of Andrew Lloyd Webber’s best in my opinion. 

Andrew Lloyd Webber has been raving about the Melbourne production and has refered to it as “definitive”, so I was keen to see what changes were made. ALW has been doing a fair amount of promotion for the DVD release, which included an illuminating 30 min interview on Radio 4′s Front Row (alas there is no point me posting a link as it is only available online for 7 days after broadcast). In this interview he talked about what went wrong with LND in London and why he thinks it worked in Melbourne. Primarily he said that Melbourne worked because he simply fulfilled the role of composer rather than the multi-tasking he did in London (whilst suffering from prostate cancer too). 

So was this all hype and salesmanship or is LND Melbourne definitive or disastrous?

As I popped the dvd into the player, several thoughts occurred - would the cast be as stellar as the London cast I’d seen? One reason I enjoyed it the two times I saw it in London was in no small part thanks to Ramin Karimloo, Lucy Van Gasse and Summer Strallen. Looking back with hindsight, I’d even go as far as to say they made the London production. I also wondered how a filmed version of a stage musical would work, would it miss the magic of live theatre and become too much like a film? I also wanted to see what changes had been made. I had my own thoughts on what needed to be done, what did this production team think the show needed?

 Firstly this production is like watching a NEW show, and that’s to its credit. The problem with the previous version was it seemed too much of a mixed bag, “too many cooks spoil the broth” and the London versions missed a feeling of cohesion and single purpose that all good productions need. This LND looks and feels like a complete package.

One of Gabriela Tylesova's Phenomenal Sets

The design is a key part of any musical and Gabriela Tylesova has here designed a magnificent set that perfectly captures the wonders of Coney Island and she also captures the darkness and mystery this piece needs. Her costume design is also perfect, LND in London felt a bit twee on occasions, there’s none of that here, the freaks are freaky, Christine, looks angelic and the Phantom is a smart and imposing figure. A huge amount of credit for the success of this show lies rightly so with her vision and skill.

I love the mask motif

Graeme Murphy’s choreography adds a whole new dimension too. From the Coney Island opening, to the mirror maze of The Beauty Underneath, his choreography brings to life the spectacle this piece deserves to be. 

Ben Lewis and Anna O'Bryne as The Phantom and Christine

Ben Lewis and Anna O'Bryne as The Phantom and Christine

What of the cast then? Ben Lewis portrayal as the Phantom is exceptional, I had reservations about whether I’d be convinced another actor could re-create the LND Phantom after Ramins Karimloo’s outstanding performances in London. Ben Lewis does and is equally as good. I also felt he gave the Phantom a slightly more menacing edge than in the London version.

Anna O’Byrne also gave a very touching performance as Christine, she mentions in the interview that is on the DVD that she wanted to focus on Christina as a mother in this production. It certainly shows and her scenes with her son Gustave certainly show us how Christine has grown up and changed since The Phantom.

The spooky haunted mirrors in the scene "The Beauty Underneath"

The trio of Maria Mercedes, Simon Gleeson and Sharon Millerchip as Madame Giry, Raoul and Meg, give their characters weight and depth, Simon Gleeson’s portrayal as Raoul is noteworthy. One of the criticisms in the London version was how Raoul was a bit of a wet blanket, Simon Gleeson, makes him a much more tragic figure. Sharon Millerchip also shows the desperation and fear that Meg has superbly in this production. As I said in previous reviews Meg has the largest journey in this show and I thought this portrayal was spot on.

The principal cast - brilliant performances from each of them.

What of Dr Gangle, Fleck and Squelch??? Finally they’re no longer extra’s from We Will Rock You! This production makes them a much darker and key part of the story. They seem to be used less in this production, and it really is a case of “less is more”, they’re matching costumes and quirkyness made them fit in seamlessly whereas previously they were a superfluous and extraneous element to the show.

I’ve mentioned the choreography and design as helping to redefine this show and also a massive part of the success is Simon Phillips direction. He seems to have really understood the show and created a team and version that is worthy of the splendid score.

All that remains for ALW to do now is release this versions soundtrack, as it’s been cleaned up a lot since the original version and I feel that deserves to be released for posterity. There are more motif’s from the original Phantom and Charles Hart has certainly helped sort out the lyrics.

The ending in this version is also so much better than the previous two versions. Much more tension and drama, which it deserves.

I’m also genuinely excited about how this production was filmed. It is hard to believe you’re watching a live theatre production. However this isn’t a film version, it never lets you forget this is a theatre show, I was glad the curtain call was included and the audience applauding after certain numbers is included, rightly so. I trust ALW and other producers make use of this technology as it is a wonderful tool to capture performances. One thing I’d like to see is an option to watch it filmed with a static camera, so that you can see it just as if you were in the best seat in the house. That’s a personal preference, but I’d like to have the option to see the whole stage too.

I wasn’t doing star ratings when I reviewed the previous 2 versions. Looking back I’d have given version 1, 3 stars. Version 2, 4 stars.

Is it a case of third time lucky? YES! This really is definitive version and a brilliant musical. Yes it’s a shame that the original did not reach these heights. Nothing is certain in theatre, lots has been learnt by us all by this shows history. ALW in the interview I mention above laments that the days where you could preview a show and work on it before it “opened” officially seem to now be over due to the internet etc. Theatre is an existential art form and some things can only be learnt when it is put on stage in front of an audience. This show has proved that. It’s also rather humbling I think for the West End to realise it can get things wrong. This team from Australia have shown that there is talent by the bucket load elsewhere.

I’d love to think this version will come to the UK but that is very unlikely. However a Broadway transfer seems possible, if so, that’ll mean one more reason I need to make the journey across the pond to visit the Great White Way. I’d better start saving now.

STARS: * * * * *

No Show Makes You Feel Happier! – Crazy For You – Novello Theatre London -Review

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The best legs on the London stage!
I’ve had a week of Gershwin this week. On Saturday I had the pleasure of seeing Strictly Gershwin, and last night I saw Crazy For You. It takes no genius to realise I kind of like Gershwin’s  music. This show was a storming success over the summer at the Regent’s Park Open Air Theatre and has now been housed for the winter  in the Novello Theatre London. The theatre itself sets the scene perfectly for this musical, the ornate golden sculpturing, the marble stairs and the accents of brass everywhere, means this is a feast for your eyes before the show starts.
Allow me to say at this point – and WOW WHAT A SHOW!
Firstly we must raise our hat’s (and glasses)  to the Gershwin brothers for their wonderful score. Brought to life by this brilliant cast and orchestra.

The cast could not have more energy - I loved the "Stiff Upper Lip" number

The cast gave this everything they had. The closing to Act 1 , “I’ve got Rhythm”, was stunning, I could not believe they just kept on dancing, and dancing and dancing. The choreography is stupendous, pushing the dancers to their limits, but they deliver (and they’d done a matinée aswell yesterday!). The show is on full throttle for most of the time, and you just get whisked along.  I loved the costumes,  the ladies look wonderful and the gents manage to subtly change from slack hillibillies to dashing dancers by the end.  The company really look and feel like a true company. Each member has their own quirks and turns and so while the story is about Bobby and Polly, each of the characters have a part in this story. When they dance their timing was impeccable and they filled the stage with their presence and joie d vivre.

Music, Dance and Romance - who could ask for anything more?

Each of the cast deserve the fullest praise possible, but I will just specially mention Sean Palmer and Clare Foster as Bobby and Polly they lead this show and their solos and duets both of singing and dancing are beautiful.  Sean Palmer dances like I can only dream of and Polly’s transformation at the end from cowgirl to showgirl is marvellous.
Want a taster? Well have a look here:
If you’re not smiling at the end of that, I’m not sure why, perhaps you’re dead?
This to me is what a musical should look, sound and feel like, yes it’s a classic from the past, but this production feels so fresh, it’s like a brand new show. It’s polished to perfection and Timothy Sheader as Director and Stephen Mear as Choreographer should be congratulated for bringing glamour, pizzazz and fun to the West End.
I’ve recently been wondering about starting to do a star rating on my reviews, I’ve held off for a while as I’ve wanted to work out my own gauge of 1-5 stars.  It seems fitting that now that I’ve worked this out I can give my first star rating and yes it’s a 5 Star one to this!
STARS :  * * * * *

Rehearsing a Right Rollicking Revue

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Come one, come all...

This will be a short and sweet blog by me as I’m currently a very busy boy rehearsing the next production I’m in. (see the poster above)

This is proving to be a real hoot, we’ve a fab cast who share a common sense of humour and silliness, which is essential for a Revue. It’s not without its challenges, the score has some demanding harmonies and I’ve got a solo to sing too. Aswell as appearing as a Fairy, Just William and various Elizabethan folks. Well I best get back to my script and score and “Brush up my Shakespeare…” (yep, we’re singing that too!)

The Wizard of Oz – The London Palladium – Review

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After purchasing my tickets at the end of last year, I’ve been patiently waiting 7 months, but the day arrived and I was finally off to see The Wizard of Oz.

At work usually on a Thursday or Friday afternoon, one of the team has a quick visit to the local sweet shop, to give us a sugar rush and treat. This show was the theatrical version of a sweet shop visit to me. So many reviews that I’ve read seem to have missed the point about this show. My criteria for going and now reviewing the show is totally different to how I’d review a straight play for example. I’ve not been to see a big scale “commercial” musical since Betty Blues Eyes , and so I was in need of my theatrical “sugar rush”.

So was this a Vimto Bon Bon of a show (yummy and great) or more of a Parma Violet (yuck!) ?

A Wizard if ever there woz

Michael Crawford is the title character, and I was genuinely excited about seeing him live for the first time. he also has other roles in the show. His (new) song as Professor Marvel, is a charming number and he delivers it with the right touch of humour and sentiment. Andrew Lloyd Webber’s also written the song “Bring me the Broomstick” for the Wizard, which gives the chance for Michael Crawford to fill the Palladium with his strikingly powerful voice and was a great close to the first Act. When he’s not singing, his acting is witty and just right for this role. Corny to say, but he really is a “Wizard if ever there woz”!

I’d voted for Danielle Hope in Over the Rainbow and was watching with anticipation to see how she had settled into the role now that she’s been doing it for four months. She certainly was the right choice for Dorothy, she has a stunning voice and exhibits a great warmth from the stage. Her interaction with the Lion, Scarecrow and Tin Man is perfect. Most of her scenes involve her being with Toto and she handled him brilliantly (yes the dog steals many scenes and possibly the show!).

This broomstick has a few tricks up it’s sleeve too

Hannah Waddingham is excruciatingly evil as the Wicked Witch of the West, suitable boos from the audience were signs of this. She has a good number (again another new addition) “Red Shoe Blues” which was excellent.

The Dress is Sponsored by Swarovski

Emily Tierney is a magical Glinda, her entrance in Act one is breathtaking and she has probably one of the most amazing dresses in any musical I’ve seen.

Edward Baker-Duly, David Ganly and Paul Keating as the Tin Man, Cowardly Lion and Scarecrow have great fun with these roles and play perfectly to the audience. Paul Keating does some demanding physical theatre with his Scarecrow, Edward Baker-Duly does a great tap routine and David Ganly has some of the best laughs of the show, and he knows how to deliver his lines to get the best reactions. (I loved his, “I’m a Lion in Winter” and “I’m proud to be a friend of Dorothy”  lines).

The new songs by Andrew Lloyd Webber and Tim Rice, certainly contain their hallmarks but I thought they fitted in well. I especially liked the final song of “Already Home”, which is beautiful.

I was disappointed by the choreography which can at best be described as “functional”, the (admittedly few) large cast numbers certainly did not give me a wow factor from the choreography which to me is necessary part of musicals like this.

The sets are amazing and the new double revolve at the Palladium is a serious piece of kit that is fully realised to its potential in this production and I’m sure will become a key reason producers choose this venue for future productions. The twister scene has been well documented as to how effective it is, and Jon Driscoll is certainly the Wizard of projection in the world of theatre, I loved his work in Love Never Dies, and he excels again here.

So this was a perfect “sugar rush” of musical theatre. It’s a superb production, everything is slick and perhaps a bit saccharine, but that’s kind of the point of these types of musical surely? An extremely enjoyable piece of entertainment.

For tickets go to  : http://www.cheaptheatretickets.com/london/london-palladium

Bring on 2012 and the Book of Mormon The Musical in the West End!

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As a treat for finishing my college assignment this weekend, I treated myself to the soundtrack of The Book of Mormon The Musical as it was released today. This is currently playing on Broadway and is a smash hit. Knowing it had the pedigree of the South Park creators Matt Stone and Trey Parker AND the Avenue Q creator Robert Lopez was enough for me to pre-order it at the weekend. A dash home from work and a quick download and I’ve now listened to it this evening.

First the book now The Musical!

I’ve been laughing out loud at this brilliant musical. It really is just hilarious. I’ve started whistling several of the tunes already after one listen which says a lot about how catchy the tunes are.

Yes, it is a rather cheeky look at Mormonism and religion in general, but it also sends up a good few other things, especially The Lion King.

Showing us those funky Mormon moves

It’s coming to the West End in 2012 apparently but no firm details have been released yet. I’m more excited about this than the Olympics to be honest!

I won’t say anymore as I don’t want to spoil it, but do yourself a favour and get this score now, and you’ll be beaming for a good while and whistling some catchy tunes too.

Here’s to it storming the West End, once details are released I’ll let you know and I’ll be booking my tickets once they’re released.