musical muppet

Theatre blog with reviews, advice and opinion pieces.

[amusicalmuppet]

Michael Crawford in The Go-Between musical

Michael Crawford’s legendary name leads a stellar cast in the new West End musical, The Go-Between. The L.P. Hartley novel set in the early 1900s has been adapted into many formats, including one for the stage, however you’ve probably never seen the story presented quite like this. Despite a bold attempt, the musical doesn’t quite hit the mark emotionally, but it’s not one to dismiss completely.

The Go-Between tells a remarkable tale of the young Leo Colston who finds himself messenger involved with an illicit relationship; a classic story of the aristocratic girl falling for the working-class boy. Looking back on his life, an aging Leo attempts to understand how events unfolded as he tries to make peace with his past.

David Wood makes an excellent attempt with a captivating story but the flow isn’t quite right and I struggled to invest emotionally. Some parts seem to drag where others aren’t explored to their full potential. When the ensemble come together they produce something beautiful, unfortunately implying a climax that never seems to arrive. It’s a shame these sections aren’t sustained as they, and other fine scenes particularly the one depicting Marian’s struggle, show the production has potential, but when the plot concludes it left me wanting more.

Saying that, the presentation is fantastic; Michael Pavelka’s set is simply exquisite, suiting the piece and setting the tone from the start. Hats off to Roger Haines for his direction as the staging is this musical’s best quality. Although beautiful musically (with just a grand piano as accompaniment) some numbers would benefit from a couple more instruments to build effect.

Michael Crawford suits his role as the older Leo Colston. His voice is of course renowned, but I wanted a little more emotional range at times. There are some superb performances, particularly with the gorgeous vocals of Gemma Sutton as Marian. Luka Green is charming as Leo, and works well with Michael as his future self. On the whole the strength of the cast is to be commended; they thrive together with intricate movement yet shine individually in character.

The Go-Between has all the elements of being a stunning piece of theatre but unfortunately didn’t quite achieve it. Maybe a few tweaks would improve things but overall it’s a good show with some outstanding qualities that need to be developed.

The Go-Between runs at the Apollo Theatre, London until October with tickets available online. This review was made possible by the Stagedoor App.

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[amusicalmuppet]

Rocky Horror Show at the Orchard Theatre

You may have been baffled to see an array of corsets, suspenders and feather boas around Dartford yesterday but it may become a regular sight this week as the UK Tour of the Rocky Horror Show lands at the Orchard Theatre. Richard O’Brien’s classic is an outrageous spectacle, not for the faint-hearted, but even the most reserved theatregoer can’t help joining in with the Time Warp.

This transvestite extravaganza straight from the seventies, gives a nod to classic science fiction and horror B movies as we follow a newly engaged couple on the trip from hell. Janet and Brad are caught in storm and seek refuge at a nearby castle. Unfortunately it’s the home of the mad, cross-dressing scientist Dr. Frank N, Furter who, in the midst of creating his very own Rocky Horror, gives the couple an experience they’ll never forget.

The show’s cult following speaks for itself – this is a musical that is totally ‘out there’ and it’s likely that you’ll either love it, hate it, or leave wondering what the hell you just saw! This aside you can still appreciate the fantastic soundtrack; it’s catchy, fitting and brilliantly performed by the band who are interestingly staged above the set rather in the traditional pit. I don’t think the set quite lives up to my expectations, but for a touring production it does the job and obviously isn’t the focus of the show when the cast are wandering around in their underwear.

Liam Tamne takes on the role of Frank-N-Furter. He commands the stage from the start and is just as entertaining as he is mad, convincingly enticing the audience into his way of living. Sweet Transvestite was a definite highlight of the entire show. Norman Pace as the Narrator is playful and works well with the audience who really make it their aim to keep him on his toes. Mentions must too go to Richard Meek (Brad) and Lauren Ingram (Janet), who both showcase their outstanding voices in these roles, and an ensemble that does well to bring the Transsexual Transylvanian culture to life.

A mix of issues with sound balance and diction makes some of the lesser-known numbers slightly inaudible, and with a fresh ear to the stage show I sometimes struggled making out lyrics, and therefore the plot, particularly in act two. The show will largely be seen by die-hard fans, and the production caters for them brilliantly, but you can’t forget the newcomers.

However this was only a slight drawback to what, on the whole, was a well put together rendition of the number one alternative musical theatre hit. Shocking, shameless, scandalous and completely notorious – the Rocky Horror Show will certainly make its mark.

⭐⭐⭐⭐

The Rocky Horror Show is at the Orchard Theatre Dartford until Saturday 11th June before continuing its tour of the UK. Tickets are available online.

[amusicalmuppet]

Legally Blonde at the Curve, Leicester

Based on the hit 2001 film, Legally Blonde is a vibrant, fun and surprisingly meaningful musical that really has it all - catchy, well-written music, a witty script, loveable characters and of course two dogs. I was so excited when the Curve Theatre in Leicester announced they would be taking on a new production of the show and it certainly didn’t disappoint.

Meet Elle Woods - your average blonde beauty living the Malibu dream. But when the love of her life dumps her for a ‘serious’ brunette, she chases him to Harvard Law School to prove she can match up, despite her hair colour.

The first thing that strikes you about this production is how stripped back the set is. Before the action begins you are met with an empty, purely pink stage. There are some great pieces of moving scenery but it is largely minimalistic for a big stage musical like this. It’s a bold move that pays off - it highlights the performances on stage which is clever as the cast is one of the strongest I have seen in a while.

Lucie Jones is a stunning Elle. Barely leaving the action, she is clearly a strong performer and her rendition of Legally Blonde was gorgeous. She creates an Elle you could really root for from the minute she stepped on stage.

Playing opposite her Jon Robyns is a natural Emmett - funny, endearing and awkwardly charming. I am yet to see a role this guy can’t play, his talent runs deep. Chip on My Shoulder was a personal highlight of the entire show with it being the best rendition of that song that I’ve heard.

With a multitude of fantastic actors it is difficult to pick out more performances. Phoebe Street’s Vivienne was fantastic and Natalie Woods was naturally comedic as Enid. Jamal Andreas and Martin McCarthy had me in stitches during Gay or European and Lawrence Rob’s roles of Fergus and Kyle were very slick. However Tupele Dorgu as Paulette was just perfect. Hilarious and electric, you can’t help but falling in love with her.

There were a few tweaks and extras with this production compared to it’s previous Broadway and West End counterparts that all enhanced the show. On a personal level I was gutted that a favourite, the ‘Jamaican Me Crazy’ spring fling theme, was ditched for it’s Bollywood equivalent but it was still good. The skipping number made my jaw drop in awe and the lighting and staging were slick and hugely impressive.

For a regional production you have to give the Curve’s Legally Blonde the utmost respect and a huge amount of credit. I sometimes had to remind myself that I wasn’t in the West End. It is playful, entertaining and satisfying to watch.

⭐⭐⭐⭐⭐

Legally Blonde is showing at Leicester’s Curve Theatre until Saturday 14th May. Tickets are available online.

[amusicalmuppet]

Debate: I’m a ‘proper writer’, does that make my blog any good?

It’s no shock to anyone today that a certain article from The Stage has sparked an avid debate on Twitter about theatre bloggers. I won’t be the first or last to write about my views on this subject – blogger credibility is a regular topic of conversation in any sector. But I do hope that my opinion will be seen as fair. Yes I’m a blogger, and I will champion our industry until I’m blue in the face, but there are fair points to be made on both sides of this argument.

In case you’ve been living under a rock today, here’s the situation. Producer, Danielle Tarento, has been quoted in The Stage saying that unpaid bloggers often lack the ‘intellectual background’ to write reviews. The article talks about her comments at the Everyone’s a Critic event and goes on to say that she criticised the quality of reviews bloggers produce and that many of these people aren’t ‘proper writers’. This of course has been met with a great deal of criticism and uproar among the theatre blogging community, but have people got the wrong end of the stick?

Forgive me for being selfish for a moment, but I have to clarify my position. I’m a ‘proper writer’. By Danielle’s standards in this article it seems I am ‘qualified’ to run my own blog. For those readers who don’t know, I have a degree in Print Journalism and since graduation I have worked in PR and marketing for almost three years. My job right now is pretty varied but I am technically paid to write and my experience goes back to my early teenage years, voluntarily writing for my local paper.

So – I have some experience. Great. But what makes my blog any better than that of someone who isn’t paid to write on a daily basis? Well, nothing really. I’m the last person to say my blog is grammatically perfect and I’m far behind many others in terms of followers and readership. The funny thing is that I started to my blog to improve my writing in a first job that didn’t give me the chance to do so!

I think Danielle may have missed the point slightly. What matters with blog-writing is passion. I have an intense passion for my subject matter, as do many fellow bloggers. Why else would we be writing about it for free? Just because we aren’t paid theatre critics it doesn’t mean we shouldn’t voice our opinion on a show. I think anyone has the right to blog about theatre if they are interested in it, and indeed anyone can.

Don’t get me wrong here – I can see what Danielle is getting at. Just owning a blog and writing reviews on it doesn’t make you a good blogger. Neither does it make you a theatre expert. Again, I have direct experience in this area. I am a performer, all be it on an amateur level, but I know how it works. I know if someone gave a good vocal performance. I know if a lighting cue is slightly off. I know if a dance formation is out of line. But at the end of the day I’m still just giving my humble opinion and it is up to you as the reader to decide if my reviews are credible, fair or worthy of influencing your ticket-buying habits!

I think that’s what most people forget when it comes to reviews, whether written by a blogger or a paid writer for a national newspaper. It’s just someone’s opinion. You don’t have to agree with it. You don’t have to like it. It’s there to guide you, and the majority of bloggers and paid critics will do just that. Not everyone will – there’s a small minority that seem to find pleasure in ripping shows apart (trust me I’ve seen them) but these are the ones that won’t get very far and they certainly won’t damage a show’s reputation with their small reach.

@MrJonathanBaz @shakespeareanLK Surely it is the job of the PR company to ensure they are only inviting quality bloggers to their shows?

— West End Wilma (@westendwilma) May 10, 2016

West End Wilma (self-proclaimed ‘non-proper writer’ with a highly successful blog) raised an excellent point on Twitter – if you think a reviewer is no good, don’t invite them to your show. Since the article has been written Danielle has stated that she does see the benefits of bloggers and invites them to her shows. I think the article in The Stage is a bit vague and the section on Danielle’s views is brief. I asked Danielle on Twitter to clarify the context of the quotes but I am yet to hear back. It may have been taken wrongly in the article but it does give off a slightly elitist view – you can see why people are angry!

But there are two sides to this story as I have discussed. Yes, not all blogs are ‘good’, but they have a right to be there. Blogging is there as a stepping stone to ‘professional’ criticism for some and a hobby for others, but no matter what category you fall in to you still play an important role in our theatrical community’s process. Blogging is essential in our industry today and long may it continue!

[amusicalmuppet]

Tom the Musical UK Tour

Calling all Tom fans – make sure you get down to the Churchill Theatre this week to catch the untold story of Tom Jones’ early career! This slick, sophisticated and charming production will not only make you laugh and cry but will also have you on your feet.

Tom the Musical follows the early days of Tom Jones’ career, from his young marriage and the birth of his son through to his first big hit. Mike James’ strong writing presents the trials and tribulations of becoming a star in an industry fraught with bad luck and the constant battle between following your dreams and facing a harsh reality.

This show would be impossible without a strong, engaging lead and they have found that in Kit Orton. You can see his passion for the piece in my interview with him before the show but this shines on stage too. He perfectly depicts the emotional journey to stardom as well as the progress as a singer. You immediately connect with him from the moment he sings and by the time he makes his big break with It’s Not Unusual he is Tom Jones - and the song is outstanding.

I was also impressed with Phylip Harries as Jack Lister and the narrator role. Naturally guiding you through Tom’s life with ease and humour, he is quite the presence on stage and the perfect choice for an important job. Elin Phillips gave an enjoyable, lively performance as Tom’s wife Linda and the guys in the band (The Senators) were funny and unsurprisingly musically talented.

One of the unexpected strengths in this production was the staging. A remarkably simple set worked really well with the fast pace of the show. The changes were slick and unassuming keeping you wholly engaged in a truly captivating story - a brilliantly directed piece by Geinor Styles.

If you’ve come expecting a jukebox musical extravaganza packed with Tom Jones’ greatest hits then you might be disappointed. What you will get is an honest, charismatic history of a national favourite finding himself in the music industry, with fantastic musical performances and convincing stagecraft.

Tom the Musical is at the Churchill Theatre in Bromley for the week before continuing its UK tour. Tickets available from the theatre’s website.

⭐⭐⭐⭐

Photo credit: Simon Gough

[amusicalmuppet]

Priscilla Queen of the Desert at the Orchard Theatre

Priscilla Queen of the Desert, the most outrageous and camp theatrical event you will see this year, has arrived in Dartford at the Orchard Theatre this week. With catchy pop tunes, strong all-rounder leads and a wardrobe to die for, the Priscilla tour really is a hot ticket in Dartford this week.

Based on the 1994 film, the musical follows two drag queens and a transgender woman as they cross the Australian desert to perform a drag show in Alice Springs. Despite some original differences, the trio find true friendship on their journey despite mechanical issues and homophobic incidents threatening their road trip!

From the minute the musical starts the tone is set and you know you’re in for a right treat. As the three divas drop from the ceiling and belt out Petula Clark’s classic hit, Downtown, you are guaranteed a spectacular show. The performance and production level never drops, largely thanks to the incredible costume and wig design and three incredibly strong leading performances.

Duncan James steps into the role of Tick with absolute ease. He is confident, likeable and his smooth voice really shines; although I probably was the only one focussing on assessing his voice and not his abs which got wolf whistles throughout the night! Alongside him Simon Green smoothly handles the role of Bernadette with class and sophistication.

A standout performer for me was the incredible Adam Bailey who wowed from the minute his heel touched the stage. He is definitely one of those performers with ‘money can’t buy’ stage presence, and that’s before you get to his flawless voice and the effortless ability to create a funny, endearing character in Adam/Felicia.

The trio are backed up by a solid, well-choreographed ensemble, particularly Lisa-Marie Holmes, Laura Mansell and Catherine Mort as the three divas, all showcasing powerhouse voices that really bring the house down. The whole production is entertaining and the script is witty, despite the odd joke to make you groan. It doesn’t take itself too seriously but still has a serious message of acceptance, coupled with show-stopping numbers such as I Will Survive and Colour My World.

It’s a shame a few things have been cut or amended from the West End production but on the whole it barely touches the quality of it. For a touring production they have achieved a lot and if the audience is anything to go by it completely hits the mark – energetic, slick and totally fabulous!

Priscilla Queen of the Desert is showing at the Orchard Theatre in Dartford until Saturday 30th May before continuing its tour of the UK. Tickets are available online from the Orchard Theatre.

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Photo credit: Paul Coltas

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Interview: Kit Orton from Tom the Musical

The gorgeous tones and Welsh charm of pop legend Tom Jones are heading to Bromley next week with the arrival of Tom the Musical. With hits such as It’s Not Unusual, Delilah and Green Green Grass of Home, the show is sure to be a winner with any Tom fans in the area. Ahead of the Bromley press night at the Churchill Theatre I met up with leading man Kit Orton to talk about the show, cheesy Tom Jones songs and rocking Cardiff in their opening week.

Why did you want to be involved with this show?

Well when the call came in, I first thought ‘oh no it’s gonna be a jukebox musical’. But after meeting the director and the team, and seeing some of the script, it was very clear that it wasn’t. It’s a very different way of telling a story of someone that everyone knows by telling the story of a part of his life that nobody knows about, so I was really interested in that.

Being a Welsh boy I grew up listening to Tom Jones and it was a dream come true. My party trick growing up was to sing any song in the style of Tom Jones. They’re doing this now on the tour with #ChallengeKit at each venue. I steer clear of an impersonation and just have hints of Tom and I’m loving it.

So you’re a Tom Jones fan then?

He’s one of those people that you’ve got albums of his on your iPod and you don’t know how they got there. Maybe it’s just because I’m Welsh! I think I bought the Reload album and that got me really into him, then I started listening to the back catalogue. As a singer you can’t help but admire the talent of him.

Dare I ask what your favourite Tom Jones song is?

There are so many! You know what, I really like the cheesy ones like Help Yourself but it’s probably I Who Have Nothing - hearing him duet with Shirley Bassey on that one is amazing.

You mentioned that you were worried about the show being a jukebox musical. What can audiences expect?

If it was a jukebox musical they would have a moment in the show where Tom Jones buys a cat and calls it Delilah and he says ‘what’s new pussycat’ for no reason at all. The show is really clever as what you’re getting is essentially a play; it is a gritty funny play, but you’re getting live gig performances in chronological order, so you’re seeing what it was like to watch Tom in a working men’s club during the Sixties. There’s not a song for a song’s sake, it’s showing a journey and the musical growth of a performer who is such an icon now.

The first time you hear Tom sing is completely unaccompanied up a mountain. He doesn’t sound like Tom because he hasn’t discovered that voice yet. My challenge is to show the growth of someone you know very well now and to get his progress from age 16, finding his vocal and physical ability in performance through eight years and ending up with that iconic voice you know from It’s Not Unusual. That’s my challenge and I love doing it. People come in expecting one thing and leave with another but they’re still happy.

You started in Cardiff back in March; how has the show developed since the first performance?

We all find our feet as we journey through it I don’t think it will ever be at the point that we are tired or we haven’t found new things to do yet. We have to gauge our audience every show and work harder on some nights and that’s what a show should always do – it should never rest on its laurels. I certainly can’t in my position as I obviously have to give that electric performance every time.

But the Cardiff opening week was insane. We had to put an extra show in as the ticket sales were so good. There were 2000 people every performance, and to have 2000 people singing Delilah with you at the end of the show was mind-blowing.

So you feel that audiences have been receiving it well?

The audience reaction was euphoric. They get what we are trying to do and it’s a shame that some of the reviewers maybe haven’t as they come expecting a jukebox musical. But the audience have been up on their feet every night so that’s all you can ask for.

You can see Kit Orton as Tom Jones in Tom the Musical from Tuesday 26th April at the Churchill Theatre, Bromley. Tickets are available online now and my review will be posted after the show!

Photo credit: Simon Gough

[amusicalmuppet]

American Idiot UK Tour

Step up Idiot Nation! Green Day’s American Idiot has set off on tour around the UK in a blaze of fire, noise and utter mayhem. Having missed this in the West End I was excited to finally experience the modern day rock opera and I wasn’t disappointed; busy, chaotic and totally in your face but it’s an absolute masterclass in modern musical theatre.

American Idiot follows three friends searching for meaning in a world rocked by the tragic events of 9/11. After going their separate ways they experience love, loss and internal unrest as drugs, war and relationships impact their young lives.

I was immediately blown away by the music in this show - it’s by far its strongest asset. Green Day’s songs lend themselves so well to musical theatre with sublime harmonies and emotive power. It’s hard to pick out a highlight with such a strong soundtrack but Boulevard of Broken Dreams just worked, both musically and on the stage.

Unfortunately it seems Amelia Lily is suffering from an illness, and with Alexis Gerred as well missing the cast was completely shifted with Alice Stokoe taking over as Whatshername and Cellen Chugg Jones stepping into the role of Tunny. You have to give credit to a cast that can pull together a show like that with two leads missing. I struggled to believe Cellen was an understudy - his performance was superb with a stunning voice and convincing characterisation.

Matt Thorpe was incredibly strong, holding the show together and confidently handling some difficult scenes. Equally impressive, his drug-addled alter ego, St Jimmy, was elegantly illustrated by a bold Lucas Rush. Together they effortlessly portray the complex struggle of a drug problem and really model the themes of the musical giving the show substance.

The show is technically challenging with an impressive lighting setup and the clever use of television clips and pre-records. There was only one slight hitch with the timing of the screens in Favourite Son which was slightly distracting but hardly ruined the performance as a whole.

It’s a busy show and not for the faint-hearted but neither should it be reserved for fans of the band. It is in no way a run-of-the-mill jukebox musical - it doesn’t have the most complex plot but some powerful motifs sustain the show and compel you to invest emotionally. You can appreciate it in so many ways - it’s bold, rebellious, doubtless and totally on the money.

⭐⭐⭐⭐

Green Day’s American Idiot runs at the Churchill Theatre Bromley until Saturday 2nd April and tours the UK throughout 2016. Tickets available online.

Photo credit: Darren Bell

[amusicalmuppet]

Jackie the Musical UK Tour

The magazine that led many teenage girls through the ups and downs of adolescence is now the subject of a touring jukebox musical. With a book by Mike James and a stack of seventies hits, this lively, fun-loving show is one for any girl with fond memories of Jackie magazine.

Jackie the Musical encounters one of the magazine’s former avid readers in the midst of a mid-life crisis, in her fifties and on the verge of a divorce. When she rediscovers old copies of the teen favourite she begins the journey to finding joy in her life with the help of her fifteen-year-old self.

It’s without doubt this jukebox musical is definitely one for the ‘Jackie generation’. The script needs work but it clearly resonates with Jackie readers and does produce a fair few laughs with no hesitation poking fun at it’s own inspiration. The appearance of Cathy and Claire alone provokes cheers from the audience which just demonstrates the magazine’s pull even now.

With hits from David Cassidy, Donny Osmond and Marc Bolan the soundtrack is spot on, and brilliantly performed by the onstage band, but unfortunately this often inspires a bit of audience participation... Save it for the ‘megamix’ at the end ladies!

The staging works really well with the show. Moving staircases can often lead to clunky scene changes but with Anna Linstrum’s direction these are covered pretty well and the pace rarely drops. I loved the speech bubbles and use of props.

You have to commend the casting - with a number of strong principals in the show it’s hard to pick out individuals. Janet Dibley leads the show, and while she portrays an endearing, relatable Jackie her voice unfortunately fails to match the vocals around her. Daisy Steere, the image of her teenage self, is the perfect headstrong, moody teenager with a showstopping voice.

I was particularly impressed by Michael Hamway, playing Jackie’s son David - gorgeous voice. Bob Harms (Frankie) and Lori Haley Fox (best friend Jill) provide great comic relief from start to finish. The ensemble is particularly tight and brilliantly choreographed by Arlene Phillips - her style and wealth of experience is perfect for the show. The first act medley including Mud’s Tiger Feet was a personal highlight.

It’s not groundbreaking but it’s a good night out. Those who, back in the day, couldn’t wait to buy their copy of Jackie each week will without doubt love the show and those who didn’t can appreciate the good music and dance in the aisles with the rest of them! The audience loved it and with a show like this that’s got to be a win.

Jackie the Musical is at the Churchill Theatre, Bromley until Saturday 26th March before touring the UK throughout 2016. Tickets and tour dates available through the website.

Photo credit: Pamela Raith Photography

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The RSC launches Hamlet trailer

In this notable year, the Royal Shakespeare Company is bringing Hamlet into the 21st Century with a stylistically modern trailer of its new production of the classic. The ‘Wittenberg Class of 2016' are here to make play as relevant today as when it was written, and Simon Godwin’s adaptation certainly seems to take the contemporary twist to heart.

After watching the Dimbleby lecture by Gregory Doran, ‘Is Shakespeare Chinese?’, you can understand the need for modern adaptations of the bard more than ever. Doran eloquently spoke of how essential the arts are in a rounded education and anything to draw in new audiences should be embraced, in this case with alcohol and mobile phones!

“As relevant today as when it was written, Hamlet confronts each of us with the mirror of our own mortality in an imperfect world.”

The RSC’s adaptation of Hamlet, starring Paapa Essiedu, is at the Royal Shakespeare Theatre, Stratford-Upon-Avon until 13th August.

[amusicalmuppet]

Lord of the Flies UK Tour at the Churchill Theatre

The critically acclaimed Open Air Theatre production of Lord of the Flies concludes its UK tour at the Churchill Theatre, Bromley this week. William Golding’s modern literary classic is brilliantly converted for the stage – gripping, adventurous and well-executed in every aspect.

It takes a lot for a play to grip me as much as a musical does, and this production had me engrossed throughout. From the moment I walked into the theatre I was taken by the amazing stage. It’s not often I specifically pick out a designer for praise but how could I not; the incredible set immediately connects you to the piece and sets the tone for the entire production. It’s dirty, cluttered and confusing reflecting the feeling of first discovering the island, but as you move through the show it transforms, becoming darker and more mysterious – I’ve never seen a set do its job so well.

The boys fly about the set so naturally, they really bring it to life even further. It’s impossible to identify a weak link with the cast. It’s nice to see that many of them are relatively new to professional theatre too – their raw talent works particularly well with this piece, playing the roles confidently but with an edge of uncertainty making the characters so real. I must also commend everyone’s transformation through the show, seamlessly going from obedient, hesitant schoolboys to wild, unhinged inhabitants.

Standout performances for me came from Freddie Watkins (Jack) and Anthony Roberts (Piggy). Freddie commands the stage from his first word, perfectly portraying the irrational opposing leader. Anthony is an endearing Piggy, within minutes creating a naturally comical, lovable character.

This really is an exquisitely well put together production in every aspect; from the set and lighting to the well-choreographed fight scenes, the soundtrack to the casting and script. The contemporary undertones bring relevance to today’s modern issues bringing Golding’s text right into the 21st century for the audience. Definitely one to watch whether the text is on your GCSE book list or not!

Lord of the Flies finishes touring the UK at The Churchill Theatre, Bromley this week with its final performance on Saturday 19th March. Tickets available online.

[amusicalmuppet]

Joseph UK Tour at the Churchill Theatre

Joseph and the Amazing Technicolour Dreamcoat is an absolute classic of musical theatre. Andrew Lloyd Webber’s and Tim Rice’s biblical school show turned worldwide hit still attracts audiences 40 years on, with songs that we all know and love, including Any Dream Will Do and Go Go Joseph. As the first musical I ever saw (and still to this day my all-time favourite) I am quite critical of the UK tours that do the rounds each year. But out of the many many versions of the show that I have seen, this was definitely up there with the best.

The musical tells the Old Testament tale of Jacob and his 12 sons. Favourite son Joseph’s gift of interpreting dreams angers his brothers leading to him being sold as a slave and facing a bleak future, unless his dream-reading talent can save him.

Joseph is well known for its celebrity leading men, sometimes unsuccessfully (we won’t mention Gareth Gates…), but this production really struck the right balance between celebrity names to boost audience numbers and talent for the musical fans.

X Factor favourite Joe McElderry takes on Joseph this time and he really impressed me, although the ugg boots did not (very biblical). He had a gorgeous voice and the end of Close Every Door got the hairs on the back of my neck standing up. Unfortunately he just needs to find something to do with his hands - it is obvious Joe is used to a microphone as he feels the need to gesture constantly, which can be quite distracting, particularly in Close Every Door. Apart from that he is so confident on stage, and funny and likeable in the role.

Narrator Lucy Kay, Britain’s Got Talent runner-up, is simply superb. I felt the first song was a little shaky but once she got started I was wowed - what a strong voice with excellent diction.

The production has cast an excellent troupe of brothers, although I felt they were a little too choreographed in the first act. I imagine the brothers as a rabble and not a well-oiled machine doing a large amount of matching routines. Despite this, they were hugely entertaining as a group and impressive in their individual songs and roles. Special mention to Jamie Jukes in Those Canada Days - awesome vocals.

Overall you can’t go wrong with this show. It is nice to see some new ideas, like the American football themed Song of the King, but the show still has the infectious charm that it has always had. Definitely one to see!

Joseph and the Amazing Technicolour Dreamcoat runs at the Churchill Theatre, Bromley until Saturday 5th March before continuing to tour the UK.

[amusicalmuppet]

Chicago UK Tour at the Orchard Theatre

“Murder, greed, corruption, exploitation, adultery and treachery… all those things we hold near and dear to our hearts”.

The musical Chicago perfectly sums itself up in its first breath. This is a show I have seen again and again in the West End and have loved each time, so I was excited to see that the UK tour was heading to the Orchard Theatre in Dartford this week, and I certainly wasn’t disappointed.

Chicago follows the tale of Roxie Hart – thrown in prison for shooting her lover, she finds that the judicial system is just a game with a few lies and a bit of ‘razzle dazzle’.

You can’t deny that the show has a distinctive identity that many people are reluctant to mess with. Quite rightly too – it’s iconic. But when the set, costumes, staging and direction are all the spit of every other production of the musical (for good reason) the only place for some movement is choreography and character. There were some original portrayals of some of the characters, little quirks that I’d not seen before, but part of me really wanted to see some new choreography and not routines identical to the West End productions of previous years. I know, I know, you don’t mess with Fosse… his legendary style draws in huge audiences but it is still nice to see a fresh interpretation, however minor.

I was hugely impressed by the tight ensemble. They produced a lovely sound and were some of the strongest dancers I have seen in a touring production. Chicago is the kind of show where the ensemble have to be as strong as the principal cast, if not stronger, and they worked together perfectly, both as a group and in their individual cameos.

It was nice to see the celebrity names on the bill without compromising theatrical talent. John Partridge was a smooth Billy Flynn, very cool and controlling. Sam Bailey really impressed the audience on home turf. Hayley Tamaddon portrayed a slightly different Roxie to what I have seen before – very animated and self-assured which I liked.

Sophie-Carmen Jones was the strongest of the leading cast – sassy and confident with a superb voice and fantastic dancing. However the showstopper was Mary Sunshine herself, A D Richardson, whose vocals in A Little Bit of Good simply wowed me.

It was a shame that there were some sound issues from where I was sitting and the lead vocals were often drowned out by the chorus, as well as a few ends of lines tailing off, although that could be down to diction too. Not too much of an issue for a veteran Chicago visitor like me but not ideal for newcomers to the show.

But I am being picky here, because this is a fabulous show and I expect a high standard, which I certainly got; a tight ensemble, talented leads and an all-round hit of a show. I would recommend you go and see it at the Orchard Theatre but it’s essentially sold out – you may have to beg, borrow and steal to get ticket!

Chicago runs at the Orchard Theatre, Dartford, until Saturday 5th March before continuing its UK tour.

[amusicalmuppet]

A Love Letter to Miss Saigon

After having my ticket booked since the day of their closure announcement, I can’t quite believe that today I will be saying goodbye to Miss Saigon in the West End. See the picture above for some idea of the state I will be in after the show tonight. It will be no surprise to my friends and followers that I am a huge fan of this show, and it was only when I took the tickets out of my drawer ready for the trip to London that I sat and thought about why.

Now I’m usually one for fun, cheerful shows that are camp as hell and a joy to watch. You know, the kind that make you want to get up on stage and join them dancing even though you’d probably look a bit silly. But over the last 18 months I’ve noticed quite a change in my musical taste, with my favourite shows of 2015 being Tommy at the Greenwich Theatre (The Who’s concept album turned musical delight) and Miss Saigon – both quite serious and thought-provoking with only the occasional moment of comic relief or odd the upbeat track.

Tommy is a completely different kettle of fish, and if you really want to hear about that read the review, but Miss Saigon has something I feel a number of neighbouring West End hits don’t have, and that’s a bit of everything. It has the stunning soundtrack and memorable songs. It has the stellar cast, both a strong ensemble and some of the best leading actors and actresses in London right now (who are also a joy on Twitter may I add). It has a great set including the helicopter, the scene within which it is used getting applause of its own with every trip I’ve made. It has an emotional story with beautifully placed comic relief with the Engineer right when it is needed.

I could go on for hours but I have already reviewed reviewed this masterpiece in detail. And surely the awards speak for themselves – Miss Saigon has won loads! It isn’t often that I invest this much time and money in one musical. From my first trip (the second preview) to tonight, I have never felt let down by this show and I have been brought to tears with all six visits.

Even on top of all of that I feel like the show has done something else extraordinary. It has really embraced its fans. From chat on Twitter to West End Live to funny videos and Ethan and Simon's YouTube channel Dressing Room Fourteen - Miss Saigon always has that extra something to offer the audience, particularly those like me who have come back time after time. I was lucky enough to get tickets for the 25th Anniversary Gala last year and it was without doubt one of the highlights of my life of theatre. Simply stunning, and no I'm not just saying that because of the free champers from Mr Mackintosh (big thanks for that).

I’m sure it will flourish on Broadway but I was so relieved by the announcement of a UK tour for 2017 this week. I wish it could have stayed longer in the West End but at least we are getting it back from the Americans!

I leave for central London in a few hours and it is very bittersweet. I’m so excited to see the show a seventh time but I’m extremely sad to see it go. Have a great final show and I can guarantee you I will be weeping and cheering from my favourite seats in the dress circle slips. See ya on tour Saigon!

[amusicalmuppet]

Lion King still has the classic Disney magic

After a number of years in the West End some people fear the musical big hitters lose a bit of their initial flair. The Lion King isn’t one of them and stands firm as one the hottest London theatre tickets. Drawing huge audiences of all ages, the show, now in its 17th year, still manages to sprinkle some much-loved Disney magic across the capital.

Based on the 1994 film, the musical follows the lion Simba as he grows from cub to king. Discovering that not all in his father’s kingdom is what it seems, he learns to trust others and believe in himself to follow his true destiny.

The current cast are slick and talented. Leading the pack, Jonathan Andrew Hume gives Simba a new sense of authority and a heartfelt performance. Opposite him as Nala, Ava Brennan, has a simply stunning voice. A personal highlight has to be Shadowlands where not only Ava’s voice shines, but the ensemble’s backing collectively sends shivers down your spine.

Everybody’s favourite duo brings great comic relief to some of the more poignant moments. Richard Frame and Keith Bookman (Timon and Pumbaa respectively) bring the roles to life, delightfully giving children cries of laughter throughout the Lyceum Theatre.

Even younger children can appreciate this show on a visual level. Bright colours and magical animals surround the theatre, but beware the hyenas if you’re sitting in the stalls. One By One opens the second act with an array of colourful birds from the cast around the theatre, even in the circle. My only criticism is the loss of the aerial artists in Can You Feel the Love Tonight - the staging in this number today doesn’t quite match what I remember from previous visits.

More wonder comes from the beautiful music. Every number fills you with amazement and perfectly defines the moment on stage, with chorus singing having a real importance in creating the atmosphere of the African savannah. It’s great to see the drummers on show on each side of the stage too.

With incredible puppets, fantastic costumes, a stunning soundtrack and a classic Disney tale, this production is a must for families and adults alike.

Now playing at the Lyceum Theatre, you can buy your tickets online through Box Office here.

[amusicalmuppet]

Blood Brothers at the Churchill Theatre

A classic British musical hits Bromley this week. Blood Brothers has been in and out of the West End and regional theatres for almost thirty years and I finally got round to seeing it thanks to the folks at the Churchill Theatre. A sterling cast and a story that brought most of the audience to tears (and to their feet) – it seems Blood Brothers still packs a punch wherever it goes.

Willy Russell’s Blood Brothers tells the gripping story of Liverpudlian twins Mickey and Eddie – separated at birth and thrust into lives at either end of the social scale, with a tragic conclusion. It’s the kind of show everyone has seen and you always get the same comment – it’s a wonderful show, sad but so so good. Maybe years of hype had slightly skewed my expectations but I didn’t get that ‘wow’ factor. I was expecting more of a soundtrack and a tad more emotional impact. However, it was still a great production and I don’t have many bad words to say about it.

The strongest thing about this current production was the sterling cast. Great credits between them all and their experience really shows on stage with this slick performance. Lyn Paul, voted the ‘definitive’ Mrs Johnstone, is quietly comfortable in her role with an endearing maternal nature throughout which is essential to this plot. Narrator Kristofer Harding has a perfectly smooth and rocky voice. His strong charisma really drives you through the story. It’s a shame there aren’t more opportunities to showcase his fantastic voice; The Devil’s Got Your Number was superb.

Sean Jones (Mickey) and Joel Benedict (Eddie) worked really well opposite each other as friends and long-lost brothers. Sean slightly edged it for me – naturally comfortable in the part with easy characterisation, both a joy to watch in Mickey’s prime yet heartbreaking to witness his demise. The only thing he has over Joel is experience however. For a professional debut he is certainly holding his own as part of this talented and practised cast, playing the role with charm and warmth.

Worthy mentions must also go to Paula Tappenden, who really demonstrates the manipulative and cracked side to Mrs Lyons, and Danielle Corlass who breezes through her performance of Linda whether a fun-loving seven year old or a broken adult.

Tight ensemble, great set and smooth lighting; this show’s experience is clear in its execution. A capable cast and riveting story definitely make for an enjoyable evening at the theatre – just remember your tissues!

Blood Brothers is showing at the Churchill Theatre Bromley until Saturday 27th February before continuing touring the UK. Tickets are available online.

[amusicalmuppet]

Let It Be UK Tour at the Churchill Theatre

The legendary Beatles sound is something celebrated worldwide and the UK touring production of Let It Be certainly aims to honour one of Liverpool’s greatest exports. Unfortunately this show doesn’t quite hit the mark, although it is still a great night out for devoted followers and passing fans alike.

After a ten minute technical delay we got started. These things happen and I usually wouldn’t mention it but unfortunately it wasn’t the last glitch of night. The cast were often unlit even while they were singing, the smoke was lit which completely obscured the pictures on the back wall and I was shocked to see an arrow of a computer mouse hovering about on the front cloth projections (to name but a few)! These are pretty glaring errors in design and execution in my opinion. I was gutted for the cast, singing their hearts out all night while being utterly let down by the technical team.

The cast were by far the saving grace of this show. A fabulous tribute to the band themselves, bringing their hits to life through the music. All four were extremely talented, while also embodying the band member they were portraying, but Iain Hornal as Paul McCartney stood out for me - a confident lead vocalist with a stunning voice. The acoustic section, particularly Here Comes the Sun, highlighted the diverse talent these performers have, hopping seamlessly between the stripped back guitar numbers and the upbeat sixties rock.

Having not seen the show in the West End I didn’t know what to expect, but I was hoping for some kind of story which I didn’t get. The show does follow through the years of their path to fame but is unsuccessful in creating interest or flow. The ‘scene changes’ (and costume/wig changes for the singers) are clunky, poorly covered with clips from the era and some commentary. It’s a nice idea that just doesn’t work. The audience start muttering distractedly and the atmosphere created by the last showstopping song drops almost instantly.

The atmosphere returns though, and it was definitely fun. You can’t help but get into the show when the music is that good. They include the greatest hits you expect to hear and encourage a good singalong which even the most reserved theatregoers can’t ignore.

The show aims to set itself apart from other tribute acts, and it does, but it is essentially just that - a glorified tribute act. We had a great time singing and dancing along but it wasn’t the big production I hoped it would be. A must for fans who want the best Beatles homage around but not for those wanting a bit more theatrical substance.

Let It Be shows at the Churchill Theatre, Bromley until Saturday 30th January before touring the UK. Tickets are available online.