Tag Archives: Review

RE-REVIEW: Les Misérables (Queens Theatre) – 2012

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Let me start off by saying that, recently, I have reviewed Les Misérables TO DEATH! Ha!

This will be my last Miz for quite some time!

I’ve just come back from seeing Les Misérables at the Queens Theatre, London and have once again had a thoroughly amazing evening, made all the more poignant because this is the penultimate show that I’ll get to see before I depart the West End for a bit! (the final curtain call, will be The Phantom of the Opera on this – Tuesday – evening).

The casting team for this show are currently famed for their three-month contracts, which currently includes Phantom-extrordinare, and current West End ‘IT MAN!’,  Ramin Karimloo, as Jean Valjean (and who unfortunately does not play on a Monday or a Thursday evening); thus this review is unable to comment on the interesting though historically traditional transition that he’s made over to this other West End stalwart, nor comment on how well he takes on this monumental role.

However, Les Misérables is definitely not a one man show, and for me, I really value to get to see the understudy, as you tend to get someone without the gimmicks or biased pulling power, thus it makes it so much easier to review the performance, as you’ve got no preconceptions, and you tend to get blown away! :) Plus, in an era of such short contracts, it also affords some longevity to this review, in addition to hopefully reassuring that subset of people who oft tend to be a little hard-to-warm to the concept of seeing an understudy.

Incidentally, I also think that the character of Javert is definitely the more interesting of the two principal adult male roles, but that’s by the by, and for another day! :P

So, Monday 23rd January, and the overall performance was, as ever, FANTASTIC!

We had a rather large number of understudies on owing to Principal cast holiday/performance schedules, including Christopher Jacobsen as Jean Valjean, Zoe Doano as Cossette, and the (incredible) Shaun Dalton as Inspector Javert.

I’ll start with the good, and say that Shaun Dalton as Javert was perfect, in my opinion. It’s the one role that I look at closely in this musical, and I found Dalton to be note perfect, incredibly commanding on stage, and a real force to be reckoned with. My plumed 19th Century Inspectors hat comes off to him, and I’d love to see him in a more Principal role come the next cast change.

I was very pleased that Alexia Khadime was in tonight’s performance, as her Eponine is absolutely gorgeous, and always a pleasure to watch. I’ve also warmed a lot more to Craig Mather’s Marius, and Katy Secombe was fantastic as ever in the role of Mme Thénardier. It was my first time seeing Cameron Blakeley as Thénardier, and I thought he did a great job in the role, making it distinct from the great shaping that I felt Matt Lucas brought and added to the role immediately prior.

Christopher Jacobsen took a little while to grow on me as a plausible Valjean, and I was initially a little worried… certainly during the opening numbers, and right up until At The End Of The Day, I felt that his voice lacked the operatic depth that I’ve perhaps become spoilt and used to with previous Valjeans. Having today learnt that he is a meer 23 years old (@tobiased makes a good point in that Valjean is never this young at any point in the entire story); I feel that this explains a lot. However, the ‘older’ Valjean got, the more I found that I became comfortable with Jacobsen’s performance, with his voice becoming more resonant, and, ultimately, I think that you end up with a passable, though not authentic, Jean Valjean. Credit where due, some of the songs were sung with great emotional depth and absolutely pitch perfect.  I probably wouldn’t shy away from a Monday/Thursday performance to deliberately avoid his Valjean, were you not too fixed on definitely seeing Ramin Karimloo.

It was my first time seeing Liam Tamne in the role of Enjolras, and I have to say, as I’d expected, I wasn’t keen. On all my previous visits to the show over the last 9 months or so (and there have been quite a few!), I’ve always had Scott Garnham, and I do much prefer him in this role, if I am honest. Similarly, I still haven’t warmed to Caroline Sheen as Fantine, though, as ever, it is worth noting that the audience are usually receptive to her, and perhaps it’s just that she’s not right for my own vision of Fantine.

Overall, and it’s made harder to judge with so many understudies on this evening, I feel that the cast is fairly strong, though definitely not as strong as when it had its full June 2011 complement, and underwent the mini-re-invention.

Technically, the show was great, and I was very fortunate enough to have had a private tour of the stage a few months back, and so it was great to watch the production with more ‘technical’ eyes. The orchestra sounded brilliant, and the surround sound which was recently installed back in 2011 also did a great job during the first barricade battle scene – even when we were right at the back of the Dress Circle you felt in the thick of it! :)

As ALWAYS, I ended up having a bit of a blub at the end, it’s just such a fantastic show, story and score, and coupled with a great cast, and thus I had a really fab time.

Les Misérables is currently at the Queens Theatre, and running pretty much until forever! If you would like any more information on the show, please visit their official website!

BBC: Lost Christmas [2011]

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So, it’s now less than a week until Christmas Day, and I’ve just taken my first dive into the ever-promising Christmas TV schedule.

Lost Christmas is an ‘urban fairytale’ set in (my hometown) Manchester, following a tragic Christmas Eve and the steps that occur the following Christmas, impacted by what has gone on before.

Starring the magnificent Eddie Izzard, amongst many others, I found this to be a great piece of drama by the BBC. In spite of the time of day of original broadcast (a Sunday at 17:30), it manages to be both sensitive and a little brutal, where it needs to be, and ultimately, through a very fluid narration, handing off from character, to character (which prevents the viewer from becoming bored), it manages to tell a real modern-day style Dickensian tale!

All the classic elements are there, though more subtly than you would know from simply watching – there’s poverty, a real working class feel to the Salford locations and characters, children, a Scrooge, a time-lapse and, ultimately, a reformation.

Should you have 90 minutes to spare between now and Christmas Day, when the BBC iPlayer will deactivate this programme, then I would thoroughly recommend giving Lost Christmas a watch.

Please click here to view the show (UK only).

As a random bit of trivia, Eddie’s hair is short, and dyed a vibrant blonde, as he was required to have a shaved head for another role that he has undertaken for Sky, in their Christmas adaptation of Treasure Island (he plays Long John Silver). As this role in Lost Christmas followed straight after filming for that, and as his hair had not yet grown back, Eddie decided that doing something bold was the only way to make his current hair cut look ‘normal!’ :)

REVIEW: The Lion In Winter -Theatre Royal Haymarket, London

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In what is becoming an enjoyably intense three weeks of ‘live event going’, this evening saw the turn of Trevor Nunn’s new production of The Lion In Winter; currently in previews at the Theatre Royal Haymarket, and starring Robert Lindsay and the FABULOUS Joanna Lumley!

Just the other night, I went to see Chicago with America Ferrera (which is ace, incidentally) and I was absolutely raving constantly about how thrilled I was to be getting to see her, and then gushed on about how I met her very briefly afterwards at stage door. However, less than 48 hours later, that massive deal has already been totally eclipsed, as it’s JOANNA LUMLEY!!!! :D (yes folks, this blog is a VERY fickle place, unfortunately hehe!).

I’ve been a fan of Trevor Nunn’s work for many a year, and I am glad to have had an opportunity to get to see a show that forms part of the Theatre Royal Haymarket’s ‘Trevor Nunn season’, and especially for it to have been this show – which also happens to be the one that has excited me the most, and not just owing to the casting!

The Lion in Winter

By James Goldman
Directed by Trevor Nunn

A family Christmas becomes a family at war. Henry II, not so young as he was, invites his estranged wife Eleanor of Aquitane, and his three sons, Richard, Geoffrey and John, to spend the festive season with him, his mistress Princess Alais, and her brother, the young King Philip of France. Will Henry name who is to be his successor as King of England? Their yuletide celebration turns into a combat zone of deceit, betrayal, bitter power games and scabrous wit.

“I am excited to be directing the London premiere of a famous play about a power struggle full of sexual politics and political sex, with two such brilliant actors as Robert Lindsay and Joanna Lumley.” – Trevor Nunn

A play with a simply gorgeous title, set in a fab historical period, with SUCH fantastic artwork (as above), Robert Lindsay, Joanna Lumley and a Christmas setting?! What more could a lad ever ask for?!

I should also mention that I don’t normally *do* plays, I am more of a musicals fan, though when I enjoy a play, I really fall for it, hard, and so this level of pre-show excitement was definitely unprecedented.

With Joanna Lumley especially, I knew from the outset that  I was in for a night of intense aural pleasure! (Note the AU you filthy smutmongers! :) ) – her voice is simply heavenly and her acting is always a joy to watch! (I had to fight the urge to get her to sign adoption papers bearing my name at stage door, instead begrudgingly offering up my programme, haha – more on that later!!).

Having not heard of the play previously, or seen the film version with Katherine Hepburn, I came to this production without any prior notions or basis for comparison, which, when I go to see a play, is often what I prefer, if I am honest – it makes it much easier for me to be able to enjoy it without any pre-conceived hang-ups, and permits me to take the production in as an ‘open book’.

I must say, I really liked this play! 

The story itself is all jolly complex, and at times it becomes almost hellish to try and follow (basically, all you need to know is that everyone is screwing everyone… quite literally! haha; also, it’s good that we’re often as confused as the characters!). In terms of the script itself (which, as an aside, you can purchase for £7 in the foyer), I actually found the play to be well written, and that the piece, as a whole, bounces along very nicely.

The only thing that, perhaps, niggles and takes away a little of the suspense (and only for those in the audience who know their history), is that one already knows that Richard The Lionheart succeeds Henry II, and that Prince John (yes, we’re in the time of Robin Hood), eventually becomes King John. Darn you history! *shakes gloved fist!* haha.

Truthfully I did find Act 1 a little more engaging, as there is a scene in Act 2 where one becomes so bewildered with the story, that it’s hard to know which way is up, and just when you think resolution is in sight, the whole thing tips back up on its head again. Having said that, I do not begrudge this production that scene in Act 2 whatsoever – if that is the script, then that is the script – what I can tell you is that the production was of a very high standard throughout, and that it is very enjoyable! :)

Having said all that, perhaps one of my favourite scenes in the whole play, is the scene in King Phillip of France’s bedroom, it was great to see all the actors sparking off each other, in what felt like the crucial turning point of the whole story.

Speaking of the actors, I thought that everyone was brilliant! I really liked Rory Fleck-Byrne as King Phillip of France, and Tom Bateman as Prince Richard, and of course Joanna Lumley was a magnificent treat! Everyone managed to keep their wit sharp throughout and the chemistry on stage between all characters worked well, I thought.

Seeing Robert Lindsay on stage (as King Henry II) meant that I couldn’t help but compare his character to a 12th Century version of Ben Harper, from BBC One’s My Family sitcom – a lot of the expressions, tone and style of comment were very similar I felt. Not that this is in any way a criticism, not at all, just a casual observation :)

I feel that the set design and lighting team need a massive shout out for their work on this piece – the set was truly beautiful, and I loved the manner in which scene changes happened, and the use of lighting was very effective I felt.

After the show, I slipped back to the stage door, with a hope of catching a quick autograph from Joanna Lumley, and Robert Lindsay. Alas, Robert did not put in an appearance whilst I was there, however, Joanna did, and GOSH, it was perhaps the best moment of my life!!

After about twenty minutes, and armed with her own sharpie (what a pro!), Joanna came out of the stage door and actually apologised to us for keeping us waiting – bless her!! Totally not a problem, we were all thrilled to do so, and would have hung around much longer for just a few kind moments with Joanna, I’m sure!

There weren’t too many people there tonight (which made it even more special; the small number is likely owing to the fact that the stage door is rather obscure) and so after speaking with the first group, she was very quickly on to me. She signed my programme, we had a quick chat, and she seemed very genuinely interested in what we thought (she also said to me that the ‘you were in good company tonight, the Lord Mayor is in!’ (only Joanna could be that fabulously geeky!! heh) to which I mentioned that we’d also seen Ruby Wax, and Joanna said that they were very good friends, and that Ruby may be going back a few times in the coming weeks. Finally, she was also very kind enough to pose for a couple of pictures!

All that I can say to y’all is that Joanna is every bit as lovely as she comes across in her documentaries! (I’d say ‘on TV’, but then you may think I also mean as she was as Aunt Spiker, in James and the Giant Peach, for example, hehe!). She was genuinely genuinely, amazing, very beautiful and so respectful towards the fans. Genuinely, one of the best things I’ve ever done, and one of the nicest people I’ve ever had the pleasure of meeting!

If you have opportunity to see The Lion In Winter, I would heartily recommend that you take it up. I found it to be a very enjoyable way to pass an evening, with some top-notch talent, and some fantastic wit and banter on stage, between all characters, and which carries nicely into the audience, making us enjoy watching the performance.

The Lion In Winter is currently in previews at The Theatre Royal Haymarket, and has it’s opening night on November 15th 2011. It’s scheduled to run until 28th January 2012, and is 2 hours and 30 minutes in duration, inclusive of interval (which comes around 20:30). For further information, please see the official production website.

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.

REVIEW: Royal Philharmonic Orchestra – Symphonic Queen

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Last night, I went to the Royal Albert Hall to catch the Royal Philharmonic Orchestra performing a programme of Queen songs, under the banner of ‘Symphonic Queen’.

Many who know me will know that I am a massive, massive, slightly obsessive, Queen fan, and have a keen enjoyment of classical music, and so as soon as I saw this concert advertised, I was straight on t’internet to book.

Karl and I had choir seats, and so were sat right by the magnificent organ, looking directly down on the stage, and out into the auditorium. It also placed us perfectly to watch the conductor(s) and have a bit of a giggle at some of the facial expressions… notably when The Queen Symphony‘s conductor, and composer, Tolga Kashif, decided to hop like a rabbit haha!

The entire first section of the performance is given over to the The Queen Symphony, which, if I am honest, did leave me a little lukewarm. The idea behind it is that it’s a swirling jumble of many of the Queen songs, all set within the context of classical music. There were some real highlights, such as the last section, where it all seemed to come together a lot more, and some rather gorgeous chords were inserted into sections of the music that I would not have otherwise expected, and they get huge kudos from me for also using perhaps one of my most favourite songs in the world, Love Of My Life, which often gets overlooked, in my opinion. My main issue with The Queen Symphony was a seeming over-reliance on The Show Must Go On (which I renamed ‘this refrain must go on… again’) and a really scary section around the second third which Karl and I both thought was rather demon-like and as if we were about to be dragged down to the gates of hell… I still, to this moment, am rather unsure as to what songs they were trying to get across, other than Bicycle Race.

It should be noted, however, that I am in no way criticising the RPO or the Brighton Festival Chorus – simply, I am saying that The Queen Symphony piece itself did not excite me as much as I’d hoped that it would, and, for me, despite my knowing a lot of the musical make-up of Queen songs, I struggled at times to link what I knew with what I was hearing.

The Queen Symphony has been rather popular worldwide with the public since it’s birth in 2002, and regardless of the niggles that I had, it was still an enjoyable piece of music, and it was, of course, great to see the actual composer conducting the actual orchestra who originally performed the piece.

The second part of the performance was what I, like many others, had come along for – where the orchestra became somewhat ‘straight’ and just played the songs! :D

Karl and I had a great little sing-along and it was fun to look out from our vantage point across the audience and see people dancing etc. The RPO and Brighton Festival Chorus (especially!) also seemed to be having great fun, and we kept nudging each other to highlight various members who had really let themself get into it :P

The encore was a rendition of We Are The Champions, with everyone swaying, arms in the air and singing along… totally our very own version of Land of Hope and Glory / Last Night of the Proms haha!

There was only one part of the second section that I did not like, and that was the use of the trombone on Killer Queen for what is normally the guitar solo. It sounded really grating, and I do feel that they should have stuck with the guitar on this occasion.

Two things that I have learnt from this experience; firstly – the Royal Albert Hall is clearly the O2 for older folk (not necessarily a bad thing, of course!) and secondly – people in the Royal Albert Hall cannot clap in time… at all… it was so out of time, it was actually horrific! heh. Perhaps it was just owing to where we were sat, and the acoustics of the space, as we were technically behind the orchestra.

Gents at the RAH, be prepared to run around in a big circle, especially if you’re sat in the East Choir, as the sole set of toilets is right around the other side of the venue, a mammoth trek, and very disorienting when you’re jogging along and everything still looks the same heh.

Going to take in a classical music concert at the RAH is a simply heavenly way to pass an evening, especially after a long, long, day at work. It was fantastic to get to see the Royal Philharmonic Orchestra and Brighton Festival Singers in action, and I’d happily go along to get lost in the folds of their music again!

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.

REVIEW: Les Misérables – Queen’s Theatre, London (feat. Alfie Boe and Matt Lucas)

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On Tuesday evening, I went down to the Queen’s Theatre to see Les Misérables, currently starring Alfie Boe as Jean Valjean, and Matt Lucas as Thénardier.

Whilst I’ve ADORED this musical for many-a-year, I must also admit that it was thanks to seeing both in the O2 25th Anniversary concert that made me finally decide to plump and see the Queen’s production – especially having already seen the Barbican touring production, which, I was told by many, was far superior in comparison…!

However, I have to say that, on reflection, I found a lot of the memes kicked around by my fellow West End Wendies seemed to be rather exaggerated… nothing looked particularly tired or shabby, and whilst the revolve did get a little tiresome at times, and the Javert end scene really doesn’t work, I thought the staging remained inspired for its requirements, and it was particularly fun to see dead or maimed people constantly whizzing by you several times at substantial speeds hehe!!!

I should add that the production has recently taken a small three-day breather, just before cast change, to facilitate the introduction of a new state-of-the-art surround sound system, and also the building of a larger orchestra pit to facilitate the now larger orchestra, in turn needed to be able to play some of the newly introduced scoring, brought in from the 25th Anniversary production.

The musical is, of course, fantastic, and you may find my review of the Barbican (25th Anniversary touring) production more to your liking if you want more of a discussion of the show… this is going to be a significantly shorter post, touching on the current casting at the Queen’s (though I will say, fourth row back, centre stalls, whoop us!! Heh).

Alfie Boe’s Jean Valjean is, simply, second only to Colm Wilkinson’s… It is absolutely world-class in my opinion! His opera voice lends itself to the role magnificently, and boy oh boy can he act – I was reduced to tears by the end!!

Matt Lucas is absolutely my all time favourite Thénardier…. he brings SO much to the role… some of it delightfully subtle, other bits so overblown and absurd that you cannot help giggling manically. I don’t think there was a moment that I wasn’t smiling when he was present on stage heh. He and Katy Secombe (Madame Thénardier) make the perfect gruesome twosome! :D

Alexia Khadime makes for a great Eponine, but I did prefer her in Wicked, if I am honest. Of course, with such a vocal powerhouse, you don’t have to worry about On My Own, as you just know from the outset that this will be one of the songs that will absolutely knock it out of the park for you when it comes, and gosh, that it did!

I may get booed for saying it, but I was less of a fan of Caroline Sheen’s Fantine and her version of I Dreamed A Dream… but I DO rate her as a fabulous musical theatre star, nonetheless.

Despite having seen a number of people perform this song, I’ve yet to actually see/hear someone on stage who can match the undeniable vocal of Ruthie Henshall (see below, from 10th Anniversary concert) – as, for me, it needs a much older and world wizened lady in the role than the creative team ever seem to cast on stage these days…

Having just said that, and after seeing the 25th Anniversary Concert, I have to say, Lea Salonga actually nails this song COMPLETELY and reduces me to tears every time, proving that a more delicate/vulnerable and less jaded version of the song can work just as well!

Given the two extremes in interpretation, I find it a little strange that these are the only two versions of the song that I can say that I actually enjoy. Despite it being covered an infinite number of times - these are the only two to evoke any kind of emotion from me, and the only two versions where the actors really seem to be emotionally invested in the song.

Anyway, I digress! :P

I’d also like to call out Scott Garnham who makes an EXCELLENT Enjolras (he is the understudy for Liam Tamne) and don’t even get me started on Hadley Fraser’s Javert – which was super SUPER amazing, and, as always, produced goosebumps (I am perhaps a little biased, as this is, without doubt, my favourite role out of anything in musical theatre hehe).

All in all, an absolutely fantastic production; the current all-star (and phenomenally accomplished cast) make this summer a PERFECT time to go and see Les Misérables… I cannot imagine a workable ‘dream team’ that I would want to see more! :D

Les Mis is currently playing at the Queen’s Theatre, London and is running, well, forever…..!! (yaaaay).

Alfie Boe will play the role of ‘Jean Valjean’ until 26 November 2011 and Matt Lucas will play the role of ‘Thénardier’ until 10 September 2011.

The show is a bum-numbing three hours long and you may find yourself singing ‘One SONG More’ at the end of Act One, if you are anything like me hehe!! The toilet situation at the theatre is a little grim, expect to queue for a long time, and that’s just the men…!

Tickets for the show can be booked, and more information sought, via the production’s official website.

REVIEW: Yes, Prime Minister! – Apollo Theatre, London

This evening, I went to see Yes, Prime Minister! – currently playing at London’s Apollo Theatre, on Shaftesbury Avenue.

Following a sell-out UK tour, this critically acclaimed production returns to the west end for a strictly limited season.

The much-loved BBC hit TV series is now playing in London’s West End in a hilarious new version written specifically for the stage by original writers Antony Jay and Jonathan Lynn. Following a sell-out season at Chichester Festival Theatre, Jim Hacker and Sir Humphrey Appleby are back – this time to face the country in financial meltdown.

Heading the coalition government, the PM is staring disaster in the face. The country is on the brink of economic crisis and there is just one grain of hope – a morally dubious deal with the Foreign Minister of Kumranistan… But great institutions have a way of riding punches and bouncing back unscathed – will it prove so for Jim Hacker and his team of close advisors?

I must confess that this was the first time that I had encountered this ‘brand’ before – having never seen either Yes, Minister! or Yes, Prime Minister! in the past (though I believe this was Thatcher’s favourite TV programme… which perhaps makes me think that my avoidance could be a good thing… but I digress! ;) hehe).

Essentially, what the production team have done here is to create another episode of Yes, Prime Minister! and bring the story right up to date. There’s talk of the coalition government, drastic austerity measures are being bandied about, and there’s even a cheeky joke about phone hacking – so the story truly is as ‘present day’ as one can make it – something that the fans of the TV series will no doubt appreciate.

Although musical theatre is my fortay, and I tend to have a higher success rate with enjoying those over plays, I have a very geeky side and an (often satirical) interest in the workings of Whitehall and politics as a whole, and so was very keen to see this production.

On the whole, I found Yes, Prime Minister! to be a rather enjoyable way to pass the 2 hours 20 minutes (there is one interval). The storyline moves at a decent pace so as to keep the audience captivated, and the humour is definitely rather ‘British’ and dry – something the audience warmed very well to (the American’s beside me, loved the quips about the American’s and foreign people). I did find Act II more enjoyable than Act I – but then I am a fan of farce, and once this play descends into this realm, it is then that it really hits its stride, in my opinion.

I felt that the casting for this play was thoughtfully considered, and especially liked Simon Williams as the Cabinet Secretary, Sir Humphrey Appleby (incidentally, I REALLY liked his suit and waistcoat combination! hehe).

The set is rather nice on the eye, though static, and I liked the use of the BBC News theme music, played in full towards the end of Act II (see, I told you I was a geek – I love this piece of music!) – though I was a little bit unsure as to why the BBC News theme was played as the curtain was going up right at the start of Act I… it seemed incredibly out-of-place and somewhat confusing.

The performance felt as if you were actually watching a sitcom from the television unfold right in front of your eyes, and so I do think that fans of the original TV series will not be disappointed with this offering – I think it feels quite genuine in that aspect, and so ultimately in that respect this production will no doubt be something of a success, borne out by its very popular recent tour of the UK.

For me, it was a little too much like a prime-time sitcom – I had been hoping for something perhaps a little more farcical or tongue-in-cheek critical of the current political situation / ‘hard-hitting’ comedy – but at the same time, I do fully recognise that this is my misapprehension and personal preference, and is through no fault of the production – as I say, I am a total newcomer to this ‘brand’ and didn’t quite know what to expect! I fully recognise, in retrospect, that this is what I should have expected, and to that end – I genuinely do think that this delivers, and was, ultimately, enjoyable!

Yes, Prime Minister! is currently at the Apollo Theatre, London for a strictly limited 10 week run (until September 17th 2011). More information can be found, and tickets purchased, via the production’s official website.