Tag Archives: Musical

REVIEW: The Phantom Of The Opera (Her Majesty’s Theatre, London)

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Oh. My. Gosh!

Regular readers of my blog will know that I am something of a musical theatre obsessive, however, tonight was my first time seeing The Phantom Of The Opera actually on a stage in front of me (a shocking revelation, right?!). I came out of the performance this evening and I was actually shaking. Seriously. Despite all my years of amassed musical knowledge, and the vast range of productions that I’ve sat through in my time, I can hand on heart say that The Phantom Of The Opera has totally revolutionised and changed the way that I think about musical theatre, just at a time when I though there was nothing more that could really excite me at present. Even in its 26th year, it still holds that magical power, and you really have to see the show before you to appreciate the true beauty and spectacle of this absolute masterpiece!

The production appears to have benefited well from the 25th Anniversary Royal Albert Hall production, though I really must stress that watching the DVD of this alone is simply not enough! :P

The staging itself was absolutely BREATHTAKING. We had the benefit of being in row H of the stalls, and so everything appeared ‘seemless’ and my eyes popped out of their sockets several times – especially during the Lair scenes, which were even more fantastic than I’d previously seen on the DVD or in photos in books etc. We were also directly under the chandelier, and I tell you now, when that bad-boy is hurtling towards you (they’ve sped it back up again now) then you instinctively duck for cover and yelp a little bit! Amazing!

I was fortunate to be taken to the show by my pal Paul, who actually saw the very original cast, in its first ever week – how amazeballs is that?! He was very surprised to find that absolutely nothing has really changed in the time since – something which amazes me, as the production looks so fresh, and, even now, 26 years on, it is still able to blow my mind, despite all I’ve seen on the stage before! I cannot imagine just how revolutionary this must have been back in 1986.

The orchestra was simply devine. I had goosebumps throughout the production; not just where I normally look for them (Overture, and The Phantom Of The Opera), but in parts of the score where I never usually get them! Absolutely nothing compares to hearing this score played live, and, though the word ‘masterpiece’ is bandied about a lot with this show, it is a very suitable word. This score is one of the ones that really made me get into musical theatre as a kid and regard Andrew Lloyd Webber so highly (I even used to help moderate the official RUG and Phantom message boards), and I genuinely cannot think of another score which moves me as much as this one does.

The ultimate treat was that the Phantom is currently played by musical theatre stalwart Earl Carpenter. For those who read regularly, you’ll know that this is going to be my last West End show for quite some time, as I’m moving back to Manchester on Saturday, and so Phantom was the one show that I desperately needed to see before I went, and, prior to tonight, Earl Carpenter was the only West End legend that I had yet to see before me on a stage. That the two massive desires that I had desperately wanted to fulfil prior to my leaving the West End behind (a massive deal for me!) were made true on the same night will stay with me forever I think (also in keeping with the advertising strap line ‘remember your first time…’ too, ha!). It was made even better as I didn’t even know that Earl Carpenter had returned to the show in advance of my attendance this evening – I only found out at the end! (I had a bit of a Phantom style revelation myself it seems haha!)

Several times, and owing to our proximity to the stage, I found myself staring right into the Phantom‘s eyes, and he chilled me to the core – I had to keep breaking my gaze! The depth of emotion that Earl Carpenter was able to convey was magnificent, and I’m not ashamed to say that come the end of the show, I was in floods of tears! Such a beautiful performance.

Sofia Escobar as Christine was an absolute find. I may get shouted down for saying this, but her voice was even more perfect, for me, than that of Sarah Brightman, who the role was written specifically for! Perfect look for the role, an astonishing voice for someone who is fairly fresh to the wider world of musical theatre, and I really hope that she stays with the production for a long time.

Killian Donnelly as Raoul was fabulous. Raoul is that slightly simpering second male lead role that I usually find it hard to attach to in a musical, however in this case, Donnelly totally grabbed Raoul and gave him a decent pair of bollocks, and completely sold the role to me! Really enjoyed his performance.

I cannot discuss the cast without mentioning Wendy Ferguson’s Carlotta – I genuinely cannot imagine anyone more suited to the role. A gorgeous voice, a fantastic way of portraying the role, and I love just watching her, even if she’s not in the foreground. She’s secretly my favourite! :P

You only have to flick through the programme to see what a wealth of musical theatre royalty is in the current cast – everyone has really fabulous experience in the field, with many people previously appearing in significant roles that I really look up to!

I genuinely, genuinely cannot implore you enough to go and see this show, I guarantee that you will not regret it. I’m not normally a fan of the premium seating model, however for this show, I would definitely recommend those seats, and in fact, for the 25th Anniversary touring production, soon to be in Manchester, I am insisting that Max and I splash out on the premium seating!

I thought that no musical could ever affect me in such a significant way again – I thought that I’d seen all that the West End had to offer, and was ready to face the final curtain, and retire a contented man; especially as I thought I knew what I was getting tonight. However, seeing this show, in the ‘flesh’, has totally reignited the passion that I have for musical theatre, and I now find myself wishing that I could see this show a couple more times before I leave; if only!! For a show to do this, and totally blow my mind, it has to be worth a look, right? :D

The Phantom Of The Opera is playing at Her Majesty’s Theatre, and stars Earl Carpenter as The Phantom up until 17th March 2012. For further information, and to book tickets, please visit the show’s official webpage.

On why SMASH is not GLEE!

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So, by now, I am assuming that you have seen the pilot for the new NBC Drama, SMASH!

(if you have not, you simply must! It’s currently being splashed all over the Internet by NBC).

Having watched the pilot, can I just say that I was suitably impressed, and the many many months that I have been looking forward to this were all well worth it – simply, this smashed it for me!

Unfortunately, I can already see all the comparisons with GLEE, which I wouldn’t mind so much, were they not what people are going to say that they are!

The thing that I like best about SMASH is that it actually has its roots in musical theatre, and not, as is the case with GLEE, where they’ve just bought in some Broadway talent – SMASH actually has a decent creative team behind it, many with a musical theatre background, and the cast are, technically, more accomplished than the season regulars in GLEE. In addition to this, you cannot mention SMASH without rejoicing at the talents of Marc Shaiman and Scott Wittman, whose scoring is, as ever, sublime! There are original songs in SMASH from the outset, and, I would argue that these are actually stronger than the covers (Let Me Be Your Star deserves an award imo!).

Unlike GLEE, which rams a song down your throat every 6 minutes or so, over a tenacious story arc, SMASH is able to tailor the songs to the content in a far superior way owing to the talents of Shaiman and Wittman, and so the whole show just feels a lot more organic, and flows better. Vocally, the voices match the songs a lot better, and there is a distinctly more mature sound to the show. Scripting is also far superior, and plot holes are not as obvious. They’re originally going in for 15 episodes, rather than GLEE’s 22-or-so, and I think that this will help keep the pace up on the story more.

Anjelica Houston is a huge draw, for me, absolutely love her, and I do hope she gets a musical number, or similar, as the show progresses!

It is reported that the pilot cost a staggering $7.5m – and it is very very clear from all the promo that is being done across the World, that NBC are determined to make this show a success, which is great to see.

From the original concept, I note that the plan was to do a new show each season, and for the actual musical at the end of the show to go onto a Broadway stage. This excites me no bounds, and, if this still occurs, then it would be an amazing way to get new, fresh, content onto the Broadway stage! Original musicals, exactly what we need more of – especially if Shaiman and Wittman are involved.

Don’t get me wrong, I am not hating on GLEE, I was watching it well before anyone else in the UK had probably even heard of it, and I still love it, when it’s on form, but I do think that there are a lot of broad differences between the two, which will sadly be overlooked or mistakenly dismissed by the majority. Whilst SMASH is absolutely my current/new favourite thing on TV – I’m on the fence about whether or not SMASH will breakthrough and recoup all the money being plowed into it. Whilst it’s already had rave reviews from the pilot, I can see a shelf-life already, which concerns me a little, thus I am very interested in this new season, new show concept very much. I can already also see the haters and the GLEE maniacs who will try to kill this, ultimately more sophisticated, show off. SMASH is by the Company, for the proper musical fans, and I am not too sure if musical fans alone will be enough for a show – GLEE successfully also taps into the influential and lucrative teen market and subtly introduces them to the concept of musicals, and show tunes, whereas SMASH assumes that the interest is already there. Whilst this is great for me, it’s not going to be great for people who don’t live and breathe musical theatre already.

SMASH is WELL WORTH a look in, and if you’re reading this blog, or following me on Twitter, then I can confidently say that SMASH is going to ring all of your bells and toot your whistle!

For those who have seen the pilot, I’d be very interested to know your thoughts :)

SMASH (New TV Drama)

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SO looking forward to this – due to start airing in either January / February 2012 in the US, and on Sky Atlantic for those of us in the UK in April 2012.

Billed as ‘Glee for adults’, and based on an idea by Steven Speilberg (as early back as 2009) and with music by the two writers of Hairspray The Musical (the 2002 Broadway stage show / reinvention) – this brand new drama is set as a ‘behind the scenes’ of a Broadway theatre/show, and, frankly, looks absolutely freaking AMAZEBALLS!

I actually cannot wait and have played both the trailer, and the song clip, ‘Let Me Be Your Star’, to death!

http://www.youtube.com/watch?v=XIkWL3SX25Q

Oh, and did I mention that the legendary Anjelica Houston is in this show? (also, as is Debra Messing – best known as ‘Grace’ from ‘Will and Grace’, along with Jack Davenport – seen in many things, including Flash Forward, The Boat That Rocked and Pirates of the Caribbean). It goes without saying that the stars of the show will undoubtedly be Broadway stalwarts Katharine McPhee and Megan Hilty, and here’s hoping they become household names across the globe, as happened with fellow Broadway leading lady, Lea Michelle when she got involved with Glee! :D

This show is absolutely made for me, and I am so excited for it! We totally need a UK version…! ;)

REVIEW: Chicago (starring America Ferrera) – Garrick Theatre, London

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I’ve just come back from seeing the all-new production of Chicago, which has literally just re-opened at the West End’s Garrick Theatre.

First off, let’s get out-of-the-way the fact that I am a MASSIVE Ugly Betty / America Ferrera fan! If I could have gotten away with it, I would have been sat in the audience with a bright poncho, thick glasses and monobrow, possibly with my fellow sisters from the ‘hood of the travelling pants! hehe. Alas to say, my pal Paul strictly forbade me to arrive in this fashion, MUCH to my intense disappointment (hehe!). I do like, however, that Ugly Betty finishes off in Trafalgar Square, and the next place America Ferrera turns up, is in the Garrick, literally 30 seconds up the road – nice bit of roundness there hehe!

Anyway, I have digressed enough – you’ve come to read a review, not help me set up a new America Ferrera fan-site, right? :P

Picture credit: http://www.facebook.com/chicagolondon

My history with the musical Chicago has always been a very chequered one. Whilst I love the story, score and most things about it (and it is not the longest running American musical in the World without reason!), I absolutely loathed the Cambridge Theatre staging, which I felt was allowed to become incredibly tatty, tired, lazy and as far away from sexy as a toothless ol’ granny sucking noisily on a boiled sweet, whilst playing with her chin hair. I feared that what the Cambridge production ultimately became may have done the brand a lot of damage, if I am honest, and I, like most of the West End community, was somewhat relieved to hear that it was closing, and perhaps a little dismayed when we learnt that it was to re-open so quickly again at the Garrick. I, for one though, started to become much more intrigued once again once I saw (very welcome) efforts to kick-start and completely reinvent the production, and therefore, it was with a completely open mind that I came to see the preview performance this evening.

All that I can say is COR! This is a trillion times better than before, and the production definitely now comes up to the West End standard, and all that jazz babbeh!!  :D

As the show itself says, everyone LOVES a reformed sinner! ;)

With the Garrick, comes a lot more stage space, and this clearly shows – there seemed to be a lot more floor-work than previous, more room to project, and the surroundings of the Garrick really lifted the quality of the production on the stage (perhaps it was the Cambridge Theatre that I wasn’t a fan of previously). This time the dancers absolutely oozed sex appeal, and the band were bang tidy, and smokin’ hawt!

What you’re getting with this new production is in fact the very same interpretation as was previously at the Cambridge Theatre, however at the Garrick you are now getting a far sexier, polished and superior show, and I totally commend the production for what it now is – absolutely fantastic!

In terms of casting, the producers seem to have successfully chopped out all of the deadwood from the previous production, retaining a few gems (such as James Doherty as Amos – whose portrayal of Amos remains the only incarnation of the character that I can bear; top credit to how fab I think James Doherty is!), and introducing/re-introducing other fine talent such as Jasna Ivir as Matron Mama Morton (my favourite Morton yet!), Darius Campbell as Billy Flynn, the sensational Amra-Faye Wright as Velma Kelly (a Broadway leading lady no less!), and of course, dear ol’ America Ferrera as Roxie Hart! :D

A lot of people are sure to be here to see what the verdict is on the gorgeous America, and I have to tell you, she is very competent and charming in the role. What she lacks in ferocity, she more than makes up for in ‘cutesy’… it was nice, for once, to have a Roxie that you, and just like the press in the show, could actually fall for, and I felt that she contrasted nicely against Amra-Faye Wright’s deliciously blunt Velma.

Official pictures of America on stage as Roxy can be seen here, incidentally.

After the show, we stayed around to do stage door, which was absolutely MANIC and swamped with professional photographers, who should really be ashamed of themselves for pushing genuine fans (and kids) out of the way to snap a picture. I was one of the first to get an autograph with America and said a few words, however it was a bit of a circus right from the start and I didn’t want to intrude, particularly as America clearly needed a bit of space owing to the frenzy! Amra-Faye Wright was also very kind in signing my programme!

There was also something of a press picture which I may inadvertently be standing in the back of… so keep your eyes out on musical theatre sites, publications and national media eh?! heh! Let me know if I’m spotted, please?! I kinda hope not, as I look an absolute fright, but at the same time, yaaaay, picture with America! haha! ;)

On his way out, my colleague Louise rather brazenly asked (a surprisingly reeeeeally tall!) Darius why he had gone from Darius Danesh to Darius Campbell… turns out he was DC all along! hehe. Darius, incidentally, is fab in this production, and it seems unfortunate that his ‘hit me baby one more time’ rap-sheet still seems to follow him, especially as he has proven himself to theatre-goers to be more than worthy in previous productions!

Also of note was that I still seem to be word-perfect on the script and songs, ha! *epic geek face!* I am guaranteed to be singing the songs for weeks now!

If you’re considering seeing this show, then I would heartily recommend it, and I would also recommend it over many other shows currently playing in the West End at the moment. It’s a great night out, that you’re bound to enjoy, and if, like me, you’ve seen it go round the block a few times, it’s well worth checking it out again, I think you’ll be pleasantly surprised!

Chicago is currently playing at the Garrick Theatre, London, and is booking until 26 January 2013. America Ferrera is scheduled to be with the production until 31st December 2011. The show duration is 2 hours 30 minutes, with one 15 minute interval. More information about the show can be found on the official production website.

MOVIE REVIEW: Footloose [2011]

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Yesterday, I was invited along to an advance screening of the 2011 remake of classic 80s film, Footloose.

Straight off, incidentally, I’m totally calling dibs on the phrase ‘Footloose Rebooted’ – genuinely surprised that nobody else in Hollywood has come up with that one!!! If you see me mention Footloose Rebooted, then you’ll know that I mean the remake :)

I have had a long and chequered history with this film/musical version in the past. Whilst I recognise the 80s original as a classic, I have to say that I’ve never really found inclination to watch it more than twice…and we won’t even go into the stage show… suffice as to say, regular readers of my blog will know that musical theatre is my main passion in life, and Footloose The Musical has always been pretty tatty.

One thing that DOES always translate, however, is the fantastic soundtrack, and I have to say, I was thrilled that Footloose Rebooted decided to stick with it, reinvent it, and add its own modern twist to it – it was a fantastic connection to the original.

You may notice that I say ‘modern twist’ – that is because the new movie has totally dragged the setting up to the present day – something that I feel actually works REALLY well!

Footloose Rebooted is definitely the best incarnation of this story that I’ve seen, despite my initial horror when I heard that it was to be remade, and, whilst the 80s movie does have all the classic moments, especially compared to the Reboot, as an overall experience, I actually preferred the 2011 film.

The story plods along nicely, there’s some FAB casting, including Andie McDowell, oh, and did I mention that the chap playing Ren (Kenny Wormald) is fit as f..?! :P

SO glad that they didn’t cast Zac Efron in the end, and even more pleased that Kenny Ortega hasn’t laid a finger on this movie… whilst both are great, this project really isn’t for either of them!

I took Max along with me to the screening, as he hadn’t even seen the original, and I was really pleased to find that he really enjoyed it as a standalone movie – seeing the initial version is not a prerequisite, and whilst fans of the 80s version will appreciate the nods back to the original, and the minor plot deviations, this doesn’t jar for the new generation.

Suffice to say, I’ve been humming Footloose and dancing around for over 24 hours now :P

Footloose is released in cinemas across the UK on Friday 14th October, 2011 and is rated as 12A.

REVIEW: Rock of Ages – Shaftesbury Theatre, London

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On Monday evening, I was kindly invited along to the Shaftesbury Theatre, in London’s West End for a night of debauchery, 80s rock and Shayne Ward gyrating around in little more than a glittery pouch… three of my absolute favourite things! :P

Rock of Ages is a Broadway show which has recently taken up residency in the Shaftesbury Theatre, and, before they’d even finished a full run through in rehearsals of Act One, had ALREADY announced an extension to the original run, taking it through to October 2012. Such confidence I have never seen in a production before, and so I was definitely intrigued to see if the show was going to live up to the hype that it was generating for itself!

From the moment you go into the theatre, you can just tell that they are here to stay! The entire auditorium has been transformed into a crowded L.A. strip, and there is merchandising available up to the eyeballs – they even have a Rock of Ages photo booth! It actually feels a little bit a U.S. ball game, in that they will serve you beer, refreshments and merchandise FROM YOUR SEAT! :o (as you can tell, I’m used to traditional musical theatre behaviours, right?! hehe). They have made an exception to the usual ‘beer only in plastic’ rule, and serve bottles of beer, in a bid to keep that 80s vibe going (although, the downside to this encouragement to drink is that, during the interval, the toilets were particularly busy, with one – hopefully intoxicated – gentleman – and that term is used loosely – actually urinating in a sink!!!). One piece of merchandising that you are going to want to buy on the way in though is one of the light up lighters, for use during all of the ballads – really wish I’d got one now!

In terms of the show itself, I’m going to state right now, that I actually loved it! 

Here’s the ‘trailer’ for the show – note that it has the US cast.

Sure, it’s no Les Mis, but I like that this show is aware that it’s a little mainstream and unconventional, and at some points in the show, it becomes very self referential – I like that it’s not trying to be something that it’s not. This makes it more endearing, and MUCH easier to review, to be honest!

The story line is as you’d expect, rocker dude likes a babe, babe likes rocker dude, typically neither possesses any kind of social skills, so they both drift apart into various disappointing lifestyles, few years go by… etc etc… Certainly charming enough that you can easily follow it, and feel some empathy with the characters.

The show makes great use of songs from the 80s, and not just the ones that everyone has heard of, which is great – as, as a big fan of 80s rock, it’d be great to see some of the less well known songs see a resurgence!

The vocals throughout the production proved to be very strong. I don’t recall hearing a bum note at all, and I was frequently singing along and dancing in my chair (which nobody else minded, as they were all doing the same!!).

The overall reaction to the show from people who have seen it thus far, seems to be ‘I wasn’t expecting much, but when I came out, I found that I loved it!’ – I’d attribute much of this to the way that the show is being marketed at the moment, with Justin Lee Collins and Shayne Ward appearing as the poster boys, across London.

I think that perhaps people are a little weary of the casting, but I would definitely say that people need not have any worries about any member of this cast, be they lead or ensemble!

Shayne Ward shows that he has a perfect voice for musical theatre, and a body to die for!! (which is on show quite a lot, and at very regular intervals throughout the performance, incidentally!). If you want to see it, then you HAVE to buy a ticket – no pictures here, hehe! Justin Lee Collins is fantastic, as I knew that he would be, and it was great to hear more of his singing voice, as, from what I’d heard of it in the past, I really like it! After this performance, I have to admit that I am just a little bit more in love with JLC! hehe.

Oliver Thompsett, as the leading man, is a very accomplished musical theatre star, and it is great that he finally has a show that feels completely his own (plus he looks SUPER HAWT as a rock boy!), and Amy Pemberton, as his opposite, has an absolutely stunning voice!

As the narrator, Simon Lipkin does a fantastic job, and is perhaps my favourite character in the whole show, despite the ratty 80s mullet, and amazing array of lewd t-shirts hehe!!

It’s great that this production has the band on stage, well, you’d expect no less! It really feels fantastic to hear chunky electric guitar riffs coming out of the sound system of the Shaftesbury. It is perhaps testament to their playing that, at the end of the show, when all the cast had gone, people still stayed in the seats to hear them play out!

Perhaps even more commendable, for me, is that even though this show is still in previews (it doesn’t technically open until September 27th), it appeared to me to be technically flawless! Sure, there were one or two little bits that seemed to go a little wrong, but there was nothing that was inherent – you can’t really prevent a cap falling off the stage, for example, and this will always happen from time to time. There was nothing that I particularly would like to see ‘improved’ or re-written, I think it’s pretty much there already!

By the end of the show, you’re guaranteed to be up and dancing. At my performance, literally there was not a single person on any of the levels who was not stood up and singing/ dancing along. They manage to make an incredibly huge mess at the end of the production (JLC totally hit me in the face with his biggun!!) and it all just adds to the extraordinary fun that you have for the last few minutes, before you leave the theatre positively buzzing!

I am not too sure how the movie starring Tom Cruise is going to pan out… I imagine that it’d have to be very fluffy and ‘silly’ in order to encapsulate the atmosphere of the stage show, and I’m not convinced that Tom Cruise is going to be able to manage that, if I am honest. My worst fear is that they’ll turn this into a ‘movie’ movie. Still, it’ll be good to see how it comes out!

Regular readers of my blog will know that I am intensely frustrated at the failure rate of shows in the West End at the moment. To that end, I am thrilled to bits that we have a show from Broadway opening up in the West End. A bit of stability is just what the West End needs, and if our saviour comes from a bunch of hairy rockers, and their mulletted fans (of which I am one… minus the mullet, of course(!)), then rock on sister! :P

Rock of Ages goes right up towards the top of my list of ‘must see’ shows for any visitor to the West End. The pricing is fairly reasonable, and not as exorbitant as other shows, and given the whole ambience, quality of show and talent etc, I really do feel that you get great value for money! Seriously, I doubt that anyone could ever dislike a show that is *SO* 80s! Lighters, bottled beer, lazers, confetti, streamers, and mullets – oh my! I genuinely loved it, and am already planning my next visit!

ROCK ON!!

Rock of Ages is currently playing at the Shaftesbury Theatre, and is currently taking bookings all the way up to 20th October 2012 (I would be surprised if this doesn’t extend further in the future in the coming months). The show duration is 2 hours, 20 minutes, and they have a range of early evening matinees during the week. Further information can be found on the Rock of Ages official website.

Oh, and one last thing – this video is ACE! Love the vocals and it features two of my favourite performers!! heh!

REVIEW: Respect La Diva – Garrick Theatre, London

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It’s Thursday evening, and I find myself kindly invited along to see the World Premiere of the latest West End production to throw open its doors – Respect La Diva!

Billed as “a spectacular and uplifting musical celebration paying tribute to some of the greatest female singers of all-time” – this sounded PERFECT for a lovely relaxed evening (after a VERY stressful week), slouched in a chair in a darkened theatre, listening to some of the greatest songs ever performed!

Created by Adrian Grant, the chap behind another West End hit, Thriller Live, I felt that this show was more of a high-class cabaret than musical theatre performance – which is not necessarily a bad thing, and exactly what I was expecting!

The highlight of the production for me was always going to be seeing Sheila Ferguson (one of the Three Degrees, who I used to/still ADORE heh!).

The show features some great vocal talents, and in that respect, this show lives up to its name. I would say that Denise Pearson is absolutely the lynch-pin diva in this production, driving it forward and keeping it all together, whilst Sheila Ferguson, Katy Setterfield and Zoe Birkett also turned in some fab performances, as did the three mini-divas, headed up by the awesome Rietta Austin. In fact, the mini-divas version of Shirley Bassey’s “This Is My Life” was probably the highlight of the entire show for me.

At 26, I am still something of a spring chicken (I keep telling myself this every year hehe), and I am a huge fan of music from the ‘old days’ and so, for me, it was magnificent to hear a real-life-live band belting out some of these classic tunes from the 60s and 70s, as I’ve only ever heard them on record before!

In terms of overall flow, however, if I am honest, the show jarred far too much for me. During Act 1, there was some loose, occasionally lengthy, and at times cringe-worthy narration by Andy Abraham (which really could do with re-scripting in my opinion), and by Act 2 this narrative was simply non-existent. Similarly, as there are so many things happening on stage sometimes during the songs, it is simply impossible to take everything in, and it becomes a little distracting at times. Dealing with 30 songs, all with their own theme, is a lot to take in, without extra bits trying to grab your attention too. In terms of ‘flow’, within the space of about ten minutes, in Act 2, we had a random pilot on the stage, some random children with candles, only some of which were lit, and they were only present for 30 seconds, and then the heavily staged story with the sound-engineer came to a head, albeit it took most of us about 20 seconds to realise who it was (which I would hope that they make a bit clearer as this show develops more). The vocal is totally what sells this show, and to my mind, there is nothing wrong with just a show consisting of Diva(s), and a mic!

The producers may also want to rescript the bit where Andy Abraham says “and now, a tribute to singers that are no longer with us”… the lights dim, and ‘Barbra Streisand’ walks on and for a full 20 seconds, sings Memories, on her own, on the stage. There was nothing short of uproar and pandemonium in the upper circle – nearly EVERYONE was nudging the person next to them, in front of them, and behind them and exclaiming ‘oh my god, has she died?!’ Absolute chaos! (Incidentally, my recommendation would be to perhaps have Barbra singing off stage and slowly walk on as the video screen starts flashing up).

… and don’t even get me started on the fact that the production makes Amy Winehouse the focus of their montage – I’m sorry, but personal opinion is that this is a little hyperbolic and I don’t really feel she fits into a line up that includes Judy Garland, Janis Joplin and Diana Washington! As I say, personal opinion, though it should be noted that the rest of the audience seemed to appreciate her inclusion/focus.

Another thing that I really did not like, was how the production shoehorns a charity plea right into the middle of the second act. Whilst it is VERY admirable that they are working so closely with a charity, due to the timing, it brought a really awkward and downbeat atmosphere to the auditorium and would be best placed during the encore/bows, especially as people are much more likely to have their mobile phones on by then, and not during the production!

That brings me to my next point – due to the ‘fun’ and cabaret style of this production, the audience to seem to be a little misbehaved at times – there were certainly a lot more people openly talking during the production, checking their phones and going to the toilet than in a conventional show. An announcement by the stage manager at curtain up to remind people that they are in a theatre would really help to improve this I reckon.

One final advisory point that I would make – I saw a lot more of the production team than I would ever want to see. I was sat at the rear of the upper circle, but I judge that anyone from the Dress upwards could see right into the stage lift pit – a curtain at the back of the pit, so that the audience cannot see back of house lights, would really help, as, again, this was very distracting to the eye as you could see right down there, and all the production staff setting up the lift for the next item.

I should add that I do not begrudge this production any of the above. After all, this show has only had one preview and has effectively launched straight into the main run – there is definitely an audience for this show, once it finds its feet, and I really think that this show both knows it’s demographic and appeals to it. A three-week run in the West End is a perfect length for this production, and I reckon that this will go down an absolute storm on the regional circuit. It is, however, a bit of a pity that it has started off in the West End, being as unprepared as it appears.

Tonight it was also fun to see some really gruff and ‘butch’ men in the audience having a sing and dance along, and I can only imagine that the fun of seeing this in regional theatres, such as my hometown of Manchester, will be amazing – as men in the North like to reflect a certain tough guy image… well, apart from when Diana Ross is on the radio! hehe!!

In summation, this is a really fun, if technically a rather clunky show, and the vocal performances alone (which is exactly what I went along for) make this well worth a visit, as you’ll certainly not be disappointed! Whilst I have picked out a few bits that I didn’t personally think worked as effectively as they could have, they didn’t particularly spoil my enjoyment of what is essentially a fun and carefree show.

Respect La Diva gets around three of those attitude-y hand whirly-snap-things (and a diva frost stare; PLUS a marriage proposal for Sheila Ferguson!!), out of five from me! :P

Respect La Diva is currently playing at the Garrick Theatre in London’s West End until September 24th, when it will then embark on a national tour. The show lasts 2 hours 20 minutes, and has one interval. For tickets, further production information and the like, please visit the official production website.

Gents: as this is a bit of a girly show, you’ll be pleased to know that the toilets during the interval are pleasantly deserted! Makes a very nice change not to have to queue! heh.

Javert State Of Mind (Les Mis)

Haha – I love this parody from the US 25th Anniversary Touring Cast! ^_^

Javert… hawt inspector that you will dream of!

Andrew Varela (Javert in the touring production) is on twitter, as is Chasten Harmon who plays Eponine :)

Big fan of the character of Javert, possibly my absolute favourite role in musical theatre, and so it’s fab to see folk having fun with the character… hopefully this is only the beginning, can think of SO many other awesome parodies hehe!!