Josh looks happy to meet “me” – thanks to James for doing this bit of photoshop shenanigans!

Josh Groban came to London town last night playing the legendary O2 arena. His show was a perfect display of his powerful pipes. He has an engaging and self depreciating stage presence which punctuated the 2 hours worth of music he sang. (he also played the piano and drums on occasions too)

His set included a range of songs from his new album, some previous songs he’s known for (like his wonderful rendition of Vincent). He also included the song Falling Slowly, from the hit musical Once. The show was just a constant stream of wonderful arrangements of exquisite music.

His band/orchestra consisted of artists from all over the world and the choir Ovation helped to fill the cavernous O2 arena with melody.

The song of the night for me was:

His encore was You Raise Me Up, a song that has been covered many times, but I still think his rendition is the best.

In a world where so many “celebrities” are nothing more than faddish and talentless plebs, it’s was a delight to spend 2 hours in the company of a talented, laid back performer who let the music, and his artistry speak.

This year’s Radio 2 Audience Award Olivier went to Billy Elliot. Despite it running for 8 years, I’d never got round to seeing it. It’s Olivier win put it nearer the top of my list and thanks to the lovely folks at Shows In London I was able to see this splendid show recently.

Having now seen it, I can see why it got the Olivier Award this year. It’s an exhilarating piece of theatre. It’s the only show I’ve seen where the lead got a standing ovation at half time, another midway through act 2 and then one at the end! We had Tade Biesinger as our Billy. He deserved the rapturous applause he got throughout, an outstanding performance from one who’s only 13.

The whole cast give powerful and passionate performances though. Billy may be the star but his cast are what help him to shine so brightly. Special mention must go to Ann Emry as Billy’s Grandma, Gillian Bevan as Mrs Wilkinson and Deka Walmsley as Billy’s Dad. This is a show with a strong story and high emotions. They keep the emotions high but never stray into the melodramatic.

The lyrics by Lee Hall and music by Elton John range from the melodic and moving The Letter, to the aggressive Solidarity, to the humourous Merry Christmas Maggie Thatcher. (surely a contender for Christmas number 1 this year?)

The choreography throws a few surprises and there are some truly remarkable moments from Billy and the cast.

The biggest shock for me was the amount of bad language. I don’t expect miners to speak like they’ve attended finishing school. I do however think the swearing is excessive, especially from the young people. A shame, as for me it’s not the family friendly show it could be.

The story is inspirational and uplifting and I enjoyed the nostalgic feeling for the 80′s the show gave me.

I can see why it won the Olivier Award this year. A worthy winner.

STARS : ★ ★ ★ ★

The story of Billy Liar has been a story I’ve been familiar with ever since my early teens. I caught the film version featuring the amazing performance by Tom Courtenay one Saturday afternoon on Channel 4 (and recorded it – so watched it multiple times as a youth). Despite it being set generations before mine and it being a black and white film, I was drawn into the world of Billy. When I got a DVD player way back, it was one of the first films I got for it. It was only a few years ago I found out it had also been a musical in 1974, and I’ve only ever heard “Some of Us Belong to the Stars“ sung by Michael Crawford on the odd occasion Elaine Paige plays it on her Radio 2 show.

When I discovered The Union Theatre were reviving it, I was excited to finally get to hear the rest of the score. I’m perplexed as to why it’s taken several decades for it to be revived. The story is fabulous, and the musical score is by John Barry (arguably one of the 20th Century’s finest composers) with lyrics by the award-winning Don Black. It’s such a shame the original recording is not available, perhaps this cast can get some crowd-funding to get their renditions recorded as these songs need a wider audience. (This version also includes three songs added in the 1990′s for a revival and as far as I can see these haven’t been recorded yet)

The role of Billy is synonymous with Tom Courtenay and the musical version with Michael Crawford (see here for an interview with Michael Crawford in 1974 when he was Billy) , it’s a brave actor that takes it on. Keith Ramsay does so in this production and leaves his own stamp on it. He gives Billy an awkwardness with hints that Billy might just be going onto the autistic spectrum. This makes him a character that you develop a care and concern for, I’d not experienced that previously. When Billy gets to sing out, Keith Ramsey’s melodious voice soars. His two renditions of Some of Us Belong to the Stars were stunning with his I Missed the Last Rainbow giving a melancholic and moving final song. This role has been career defining for previous actors and I have a feeling it will be the same for Keith Ramsay. He deserves it.

A Career Defining Performance from Keith Ramsay.

The Union Theatre may be small but the cast of 17 filled the stage with their personalities, witty lines, dances and voices. Mark Turnbull as Councillor Duxbury gave a tear-jerking rendition of the beautiful song, It Were All Green Hills.

Rosie Clarkson as Barbara and Laura Bryars as Rita.  

The three girlfriends of Billy, are each contrasting characters, played with self-assurance by Rosie Clarkson as “good girl” Barbara, Laura Bryars as mouthy, brash bulldozer Rita and Katerina Stearman as Liz, the only one that actually understands Billy and gives him the chance to break free.

Katerina Stearman as Liz, the girl that understands Billy.

Billy’s interactions with his long-suffering parents are brought to life by Mark Carroll and Ricky Butt as his dad and mum respectively. Their confusion and frustrations come to the fore, but they never let you forget they love their son despite his short comings. It’s an honest and heartwarming show.

Michael Strassen has directed other hit shows at The Union Theatre and it shows, he knows the space and maximizes it to its fullest. The show punches to the wow factor when it needs and comes down to intimate levels as appropriate. He’s aided in this by Tim Deiling’s magnificent lighting. Richard Bates orchestration allows the songs to shine, which they deserve to do. As I’ve said this is a first-class score.

Don’t miss the opportunity to see it, as you may have to wait a decade or two until it’s back again. I don’t know why, but that’s the crazy world of theatre.

STARS : ★ ★ ★ ★

All photographs by Sam Mackenzie-Armstrong

Anyone that’s been reading TheatreThoughts.com for a while will know I’m a huge David Mamet fan, his plays and writings on theatre are one of my biggest influences. Few writers have got me thinking like Mamet.

So the chance to see a premier of his latest play was a must for me. In fact it’s the first play of his I’ve seen, having only seen film versions, read or listened to his other works. My first visit to The Hampstead was a pleasant affair, it’s a great theatrical space with helpful and friendly staff and I’ll definitely be returning as it produces some amazing work.

Race is Mamet writing at his frenetic and gripping best. We’re thrown into the legal world of the US and watch as a white man is accused of raping a black woman. The legal firm consists of a white and black partner with a black legal apprentice. Assumptions, prejudices and deep-seated beliefs are brought to light.

Whilst this is an issue based play, Mamet doesn’t ignore his own advice and ignore the plot (something far to many “issue” plays do). There is a strong plot that has you on the edge of your seat throughout as the schemes and twists of the case come out.

In some ways this being set in the US makes it easier to observe and pass judgement on the issues he presents. I know it caused a stir on Broadway. However the issues he brings up are not comfortable for us in the UK either (and equally as applicable) and do need addressing. Yet he frames them within strong characters and you’re torn between who is right and wrong.

The cast of four (Jasper Britton, Charles Daish, Clarke Peters and Nina Toussaint-White) give dynamic performances, keeping the pace up and allowing the intensity to come through. Mamet’s usage of dialect and machine gun dialogue is not easy. Their timing and phrasing is spot on.

As my wife and I left the theatre for a stroll up to Hampstead Heath we were still talking about the play walking around the Heath! To me that’s the mark of great writing, it gets the audience talking and thinking as it leaves. Race did just that for us and I’m sure it will for you.

STARS : ★ ★ ★ ★

This production is a treasure,  a pearl of great price for those that will seek it out.

A play about Oliver Cromwell’s genocide in 17th century Ireland is not an easy sell from a marketing point of view. This is a play about so much more, with a disturbing relevance for our divisive 21st century. Helen Edmundson has finely crafted a tense, emotional and dramatic story. I studied this play at college and it has remained with me since that first reading. It has one of the best final scenes of any play I’ve read or seen.

High praise to director Chester Stern who set this play in the round. Which allowed for a fluid change of scenes. He brought the best out of his cast and created the harrowing world of 17th century Ireland before our eyes.

The cast got a (rare) standing ovation from me. I’ve never seen a better amateur cast. Being brutally honest they were better than a great deal of so-called ”professional” casts I’ve seen.

Robin Clark gives his greatest performance to date as Robert Preston the English gentleman caught between saving his way of life and yet trapped by his marriage to Madeleine his Irish Catholic wife. His tragic descent from hero to selfish turncoat were superbly shown by Robin.

Lucy Baker as his passionate wife Madeleine gave an equally brilliant performance. Particularly moving was her scene at the docks with Pamela Cuthill’s Killaine who is in chains, destitute, broken and bound for a life of slavery. It’s a scene that’ll stay with me. It was dramatic, touching and brought tears to our eyes. Their interaction throughout the play was a joy to watch. The relationship between these two is the heart of the story for me.

The villainous Sir Charles Sturman was played by Lawrence Marsh. What a nasty piece of work! Yet Lawrence gave him a zeal and religious intensity that made us realise he really did think he was being merciful and Christian in committing such atrocities all in the name of “cleansing” this “wicked land”.

Mark Pendry and Sally Bosman are touching as the kindly Solomon and Susaneh Winter. Their pleading before the judge was particularly moving as were the dilemmas they face. I’ve seen Mark in a few things, this performance certainly rates as his best.

Cris Semple digs deep to bring fire and the sense of injustice in nationalist Pierce. A small but vital role as his character lingers in the background of all the goings on.

Tony Dent provides support as a commissioner, a judge and a sailor. He gives weight to these small roles as they’re present at key scenes. His sailor in the aforementioned dock scene was truly menacing.

The play cleverly shows how being thrown into turmoil affects people in different ways, and offers a warning that we may not be as righteous as we may think , God forbid, we should ever be in a similar situation.

So as you can see I loved it. It’s on until 8th June. Make the effort,  you’ll be rewarded with an unforgettable night at the theatre. Tickets can be bought here.

I normally refrain from giving amateur productions a star rating. On this occasion I make a valid exception. Nothing amateur about this production.

STARS : ★ ★ ★ ★ ★

Ps. I declare that I know the director and some of the cast. Yet this is no hyperbole but heartfelt. I am genuinely proud of what they’ve achieved with this piece.

The Shed is the National Theatre’s temporary theatre whilst the Cottesloe is transformed into The Dorfman. It’s a great 250 seater studio space.

Bullet Catch comes to it from its success in Edinburgh last year, and fresh from a Broadway run this year.

It says in the programme “this is not a magic show; it’s a theatre show featuring magic.” I disagree, it’s a magic show, albeit one with a thought through narrative. Narrative, trick, narrative, trick… is the order of the evening. It’s a tad pretentious to claim this is anything more than a magic show (and there’s nothing wrong with a decent magic show).

Rob Drummond is the “magician”(a term he doesn’t use in the programme or on stage). He’s an engaging, pleasant and skillful one. His narrative revolves around the notorious “bullet catch trick” that has claimed the life of numerous magicians over the years.

Throughout the 1hr 20 mins he is assisted by a single member of the audience. It’s a big ask for an audience member to become such a integral part of a show. (Leading some to speculate whether they are a stooge) Ours last night was confident and candid thankfully. I wonder how it’d work with someone not quite as confident or comfortable being on stage for over an hour?

I have two issues with this show;

Number one; he exposes a magical secret/effect (one also used by Derren Brown in his An Evening of Wonders show) that isn’t his intellectual property to expose.It comes quite late in the show. I think it serves no theatrical purpose, other than to make Rob come across as cold, heartless and as if he doesn’t care, which is a shame as he’s built such good rapport with the audience. In a show where so much has gone into the narrative and framing of the effects this exposure felt unnecessary and quite lazy.  He’ll no doubt argue that he gives option for audience members to cover their eyes. True, but he takes about 2/3 mins to expose it, sitting with eyes closed for that long is not really an option in a theatre.
He should have thought of his own secret to expose rather than ripping off someone elses. (as Penn and Teller expertly do) Strangely at the end when my colleague wanted to examine a prop on stage as he was leaving the theatre, he was told he wasn’t allowed to by a stagehand “as we doesn’t want people to know the secrets“!

Number two;  his big finale is a bullet catch. He produces (via a rather lame magicians prop box) a Glock 9mm handgun. Except we’re in the UK and handgun’s are illegal,  a recent case saw a former S.A.S soldier in trouble for keeping his firearms after leaving the service. If a former firearms specialist gets in trouble with the law, I doubt wielding a loaded illegal firearm on the NT stage would go unnoticed by the police. Plus it made a noise akin to a cap gun and the petite volunteer fired it single-handed with no recoil!
This effect also featured a really “clunky” method, a real shame as rest of magic was performed effortlessly.

So for me it was an enjoyable and interesting magic show, but it didn’t hit the bullseye.

STARS: ★ ★ ★

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!

The Winslow Boy is to my mind one of the greatest “well made plays”. Written with a craftmanship that is lacking in so much modern writing. The “Rattigan revival” continues unabated I’m pleased to say with this outstanding production.

Lindsay Posner’s tight direction gives this story of injustice and battling against the establishment pace. He also allows the humour to shine through in places that were new to me. I assure you this is no dreary and dull period play. It had me laughing out loud and tugged my heartstrings throughout.

It was wonderful to see and hear an audience that didn’t know the play reacting to its twists and turns and the emotional journey the Winslow boy and his family embark upon. I was also pleased to see such a wide age range  present (literally 9 – 90). All being captivated by Rattigan’s masterful story telling.

If you’ve never seen a Rattigan play, this would make an excellent introduction to his outstanding writing.

Charlie Rowe as the eponymous boy gives a compelling and touching performance as does Henry Goodman his supportive father. They are finely supported by the rest of the cast.

Peter Sullivan as Sir Robert Morton

For me though I really think it’s worth going to see, just to witness Peter Sullivan  and his splendid portrayal of Sir Robert Morton it is tremendous.

With so many productions on in London and in a time where we’re all needing to think about what we spend our hard-earned pounds on. A superbly written play, that the director brings to life in new ways and acted by a stellar cast gets my vote for great value for money and a great theatrical experience.

STARS : ★ ★ ★ ★

I have to say I think it’s a shame that the West End has crossed the £100 line. I understand theatre is an expensive creative endeavour and people clearly are willing to pay this price (and more to touts). However I do feel that it prices the regular theatre goer out of the range of some shows. Even if you could get a half price premium ticket to either of the above shows, you’d still be forking out £63. I’m certainly not going to bother to see The Book of Mormon for a good few years when they’ll be offering discount tickets.

Likewise The Audience while it’d be nice to see Helen Mirren performing, the play itself doesn’t appear to be getting a “you must go and see this” response by those I trust. I have a feeling the opinions of critics could become more of a factor for people choosing which show to see going forward.

Don’t get me wrong, I DO expect to pay for tickets, and I’m well aware of the financial implications putting on a West End Show (or any show for that matter) entails. I just feel that the West End has taken a step which I think in the long-term may have negative effects. I like anyone have to budget and make choices with my hard-earned money. Shows charging what I perceive to be excessive tickets prices won’t get my wonga.

Many are excited about the “new” audience The Book of Mormon is bringing to the West End, however if they leave assuming the price of all the other shows is £126, I’m not sure that’s a good thing. Many contemporaries of mine avoid the West End due to a perception that it is “too expensive”. I take my hat off to the marketing gurus behind The Book of Mormon though, they have truly created a juggernaut that is bringing in millions of pounds worth of tickets. I’m skeptical that their success will spill over to other shows though. 

Some have said it is “only” £126 for a ticket, but going to the theatre is seldom an individual event. I have only been to a show or play on my own a handful of times. I go with my wife usually, so now suddenly it’s £252 for tickets, plus a bite to eat beforehand, a programme for show, ice cream in interval and travel. All of a sudden a West End show is a several hundred pounds.

We keep being told the West End is bucking the recession trend, I wonder how much of this is due to the increase in ticket prices as opposed to an increase in audiences? I’m thrilled the West End is doing so well and there is a genuine buzz around about the great shows that are on offer at the moment. I’m just concerned that the trajectory can’t keep going up and up.

Perhaps the West End is a different theatrical beast? It is an event to go there, and it’s prices and shows should reflect that? It does cater for a more transient audience than other theatres and it certainly does offer spectacle and some of the best theatre in the world. Maybe I just need to get used to sitting up in the gods and save my pennies for those shows I really want to see. The West End is my “local” theatre which is a privilege I know, maybe I’m being greedy, as I want to see everything all the time.

I also think the ticket prices help people promote/justify the shows with the zeal The Book of Mormon has created. Very few people who fork out £126 (or more to the touts) are going to say afterwards, “yeah it was an ok show” are they?

When I write my reviews a key consideration I now have is, “does this ticket represent good value for money?”, in the current climate, that is really important. As I think the productions have to justify their ticket prices, is an “ok” show really worth those premium rates?

Let’s hope the rates plateau at this for the forseeable future, and we’ll see what happens.

(Last year I wrote a post, 16 Ways to go the Theatre and Not Pay Full Price click here to read it)

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

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.

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