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Mar 9th

The Play That Goes Wrong at Theatre Royal, Glasgow

By Cameron Lowe

 

 

 

There are many famous stories of things going wrong in theatrical productions; Lawrence Olivier's very first professional performance started badly when he tripped through a door frame on his very first entrance. John Barrymore - drunk and rambling through a performance - forgot his line and staggered to the wings to ask the prompt "What's the line?". The prompt (obviously having had enough of Mr Barrymore's adlibbing and drunken behaviour) quickly responded with "what's the play?".

 

Mischief Theatre have realised how much everyone enjoys to see these little "mishaps" and have created a hilarious show that throws in as many theatrical calamities as you can imagine!

 

Featuring a show within a show, The Play That Goes Wrong tells the story of Cornley Polytechnic Drama Society's production of Murder At Haversham Manor. This looks like a classic murder mystery, but before the show even starts there seems to be a problem. Seeing the stage manager in the audience looking for their lost dog and the technician looking for his lost CD is a great set up to the evening that lies ahead. With an open stage you get a chance to see the 'crew' setting up for the show with toolboxes on stage and various bits of set being repaired (including a particularly troublesome mantel piece above the fire!). If you get a chance - read the first few pages of your programme too. It has been designed to include some brilliant details from Cornley Polytechnic and gives you some insight into the onstage dynamics that adds an extra layer to the whole show.

 

So far, so funny, but once the actual play kicks in - the humour is ramped up even more. Some small physical gags start the show off gently and this builds with some overacting, dropped lines and missing props that set up so many funny moments throughout the show. As with Les Dawson's piano playing - you have to be very good to then cleverly be able to play 'badly' and make it interesting and funny. I could not single out one actor involved as this is very much an ensemble piece that relies on every actor playing their part exceptionally well. The timing involved in getting the physical gags/falls/effects correct and safe is no small task and the set design and stage crew play a huge part in the success of this show under the swift direction of Mark Bell.

 

As actors become indisposed due to injury (usually happening onstage) stage crew are flung on in their place - using the script before the pages are sent flying, leading to some brilliant comic exchanges. Wall hangings on the set start to fall creating a brilliant physical gag that garnered huge applause from the audience on more than one occasion.

 

This review may seem very vague, and there is very much a reason for that. Unlike many murder mysteries where you are asked to keep the secret of who committed the murder - that is the least important thing in this show - the secret I want to keep is of every brilliant moment of this play! It has so much humour and is so excellently executed that words would not do it justice. If you watched their Christmas TV production of Peter Pan Goes Wrong, then you'll have a small indication of what the writing team of Henry Lewis, Jonathan Sayer and Henry Shields are about. However you should note that The Play That Goes Wrong was their first - and in this instance, the original is most definitely the best. Trust me, just take my word and buy a ticket - you can thank me later!!

 

The Play That Goes Wrong

Theatre Royal, Hope Street, Glasgow

Mon 6- Sat 11 March 2017

Mon-Sat Evening, 7.30pm

Thu / Sat Matinee, 2.30pm

Box Office 0844 871 7648 (bkg fee) Calls cost up to 7p per min plus phone company's access charge

www.atgtickets.com/glasgow (bkg fee)

Feb 21st

Sister Act at The Alhambra, Bradford

By Cameron Lowe

 Review by Graham Clark

The last time that Alexandra Burke was in Bradford was to open the Broadway Shopping Centre,the X Factor winner is now back in the city playing the disco diva, Deloris Van Cartier, whose life takes a surprising turn when she witnesses a murder. So, under protective custody she is hidden in a place that she will not be discovered - a convent!

 

It was always going to be a test playing such a commanding role (played by Whoopi Goldberg in the original film version) but Burke pulls it off with ease. Her facial mannerisms are are a treat.

 

It is a feel good show set in Philadelphia in the mid 70's when disco was king and Deloris was more into Donna Summer than the church.

 

Deloris finds solace in the convent choir.  Mother Superior (Karen Mann) is a complete contrast to Deloris. The smooth talking man about town who turns into the murderer, Curtis, is played by Aaron Lee Lambert who also doubles up dressed up as a percussionist playing nun in the shows band.

 

Police officer Eddie played by Joe Vetch strikes up a relationship with Deloris who has a new identity as Sister Mary Clarence. The choir go on to be so successful that they gain media attention that advertises the whereabouts of Deloris so that Curtis and his sidekicks  know where to find Deloris (the disco diva turned Nun)!

 

The dance routines are infectious, the songs seem to be pastiches of disco classics but holding it all together is Alexandra Burke who is always the star of the show.

 

Sarah Goggin as Sister Mary Roberts comes to the fore during the evening, her singing voice perhaps a little too shrill at times. The underdog of the choir, she provides the comical role of the night.

 

There are influences of other 70's shows too like Saturday Night Fever with Police officer Eddie doing a good John Travolta impression at some points in the show.

 

With her new identity blown, Deloris decides to stay with the nuns and sing for a performance in front of the Pope.

 

As the title of one of the songs says, "Look At Me I'm Fabulous Baby", this is a fabulous show.  A standing ovation from the audience was rightly deserved.   Fabulous.

 

 

Runs until Saturday 25 February 2017

 

www.bradford-theatres.co.uk

 

Telephone: 01274 432000

 

Feb 7th

Thoroughly Modern Millie at The King's Theatre, Glasgow

By Cameron Lowe

Review by Chris Lowe

 

Thoroughly Modern Millie is a 1967 American musical and romantic comedy film which came to broadway in 2002. The story focuses on a naive young woman who finds herself in the midst of an adventure pursuing her goal of marrying a rich man.

In New York City, 1922 Millie Dillmount (Joanne Clifton) is driven to find work as a stenographer to a wealthy businessman (Graham MacDuff) who she plans to marry. Millie befriends a sweet girl named Miss Dorothy Brown (Katherine Glover) an orphan who has checked into the Priscilla Hotel where Millie also resides. Unknown to Millie and Dorothy, their hotel owner Mrs. Meers (Michelle Collins) is selling her tenants into "white slavery".  At a friendship dance in the hall, Millie meets a paperclip salesman Jimmy Smith (Sam Barrett) who she takes an instant liking to.

Joanne Clifton delivered a wondrous performance as Millie. She can dance with zest and she certainly can sing with that bold, brassy voice and a flawless delivery which allowed the show to soar.

Sam Barrett plays a great supporting character and you can feel the connection between Millie and Jimmy from the start. His voice was extraordinary, dancing skills were striking and he paired very well with Joanne Clifton.

The funniest performer would have to be Millie's boss played by Graham MacDuff. His acting was incredible and his dancing was staggering to watch but it was his comedic performance which stole the second half of the show. The funniest scene of all time would be when Mr. Graydon has had a bit too much to drink; his portrayal of his inebriation is nothing short of hilarious and had the audience in stitches.

Overall I cannot fault any of the cast members and musicians or the production value. The set had a nice aesthetic, the choreography was pristine and each cast member delivered their own unique performance with precision. This is a musical not to be missed!

LISTINGS

Thoroughly Modern Mille

Mon 6-Sat 11 Feb 2017

Mon-Sat eves, 7.30pm

Wed &Sat mats, 2.30pm

Box Office 0844 871 7648 (bkg fee) Calls cost up to 7p per minute, plus your phone company’s access charge.

 

www.atgtickets.com/glasgow (bkg fee)

 

Dec 9th

Cinderella – King’s Theatre, Glasgow (until Sun 8 January 2017)

By Cameron Lowe

Why are Pantos like hospitals? Because the audience are always in stitches! You can keep that one – have it for free!  ‘Tis the season for corny jokes and Glasgow’s King’s Theatre Pantomime, Cinderella, has them by the bucketload thanks to the hilarious talents of writer, Eric Potts (much better than my effort above).

 

If you thought that Panto was dead, get yourself along to the King’s theatre and get yourself re-educated.  There is plenty of hilarity for all ages on stage and a top knotch soundtrack of up-to-date tunes to keep even the greenest of Grinches tapping their feet.  Choreography from Ian West is first class, too, keeping a great balance of contemporary steps and classic promenades to show off those lavish costumes.  The whole production has a very high quality feel while director, Morag Fullerton, keeps up the machine gun pace admirably as those quick fire jokes are delivered like bullets from a gattling gun!  Cinderella’s trnsformation is magical and her coach and horses are worth the ticket price alone!

 

The principal cast of characters delivered on all fronts.  Gregor Fisher and Tony Roper rightfully stole the show as Euphimia and Lavinia (“Lavvy” for short); the ugly sisters but they were not left to carry this show.  Des Clarke continued to keep the share price of Red Bull high with his high-energy portrayal of Buttons and Elaine Mackenzie Ellis ensured that all her couplets were rhyming as the Fairy Godmother.  Gary Lamont was outstanding; showing off both comedic and singing talent as the ‘just-camp-enough-to-be-hilarious’ Dandini.  Meanwhile, the romantic lead roles played by Gillian Ford (Cinderella) and Josh Tavendale (Prince Charming) ensured that the narative was delivered while entertaining our ears with impressive vocal talent.

 

It was an absolute joy to attend this performance and I left feeling that my laughter muscles had had a good workout.  You cannot beat this show for a great family night out this Christmas.  Treat yourself to some Christmas Cheer at the King’s this year!

 

 All images courtesy of the King's Theatre, Glasgow. 

Listings Info:

 

CINDERELLA

 

KING’S THEATRE GLASGOW

Fri 2 Dec 2016 – Sun 8 Jan 2017 (please call box office for full details)

 

Access Performances:

Captioned Performances – Wed 14 Dec, 1pm & Wed 21 Dec, 7pm

Sign Language Interpreted – Fri 16 Dec, 11am & Mon 19 Dec, 7pm

Audio Described – Tue 3 Jan, 1pm

Relaxed Performance - Fri 6 Jan, 11am

Box Office: 0844 871 7648 (bkg fee)

Schools and group bookings: 0844 871 7602

Calls cost 7p per min, plus your phone company’s access charge

 

www.atgtickets.com/glasgow (bkg fee)

 

Oct 20th

Chitty Chitty Bang Bang at The Kings Theatre, Glasgow

By Cameron Lowe

 

 

The show certainly bursts onto the stage with a bang (bang), but can you believe the hype?

 

Seven years on from my first sight of Chitty Chitty Bang Bang on tour and I must confess that the “wow” factor has diminished a little.  It’s still a great show with many positive elements and little to say that is actually ‘wrong’ with it … but the action was not quite as gripping for me as the first time around (and, before you suggest otherwise … I wasn’t 12 when I last reviewed the show!).

 

Even if the car had been a huge disappointment, the show would have proved itself as to be a good piece of musical theatre.  The sizable cast of adults and children filled the stage with energetic performances, solid vocals and entertaining dance routines.  The large scale set added a childlike sense of drama as it dwarfed everything and provided a dynamic backdrop for the extensive use of animated projections.  Choreography was characteristic and entertaining in equal measure and flawlessly executed throughout – including a musical theatre favourite – a tap routine!  The adapted script was bold in both cuts from and additions to the original 1968 movie screenplay and delivered rounded characters who were quickly lovable (or loathable) as required.

 

As I said; very little to complain about.  Picking nits I might suggest that some principal characters lacked a little verve and there was a sense that the show lacked freedom as everything had to click along at a fixed pace to match the projected animations.  But this was a small criticism of a polished (and expensive looking) gem.  It’s true to say that this is a family show which is firmly aimed at the younger members of the family.  There was the occasional double entendre (Spotted Dick was mentioned twice!) but this is no Shrek in the script department.

 

The score is packed with childhood favourites like Toot Sweets, The Ol’ Bamboo and Truly Scrumptious and the principal cast together with the large and talented ensemble delivered all to a good standard and to the delight of the audience of young and old alike. Headliners Jason Manford (Caractacus Potts), Phill Jupitis (Baron) and Claire Sweeney (Baroness) don’t disappoint while Charlotte Wakefield proves to be a sweet Truly Scrumptious (pun intended).

 

But the car … oh, the car is the star (as they say)!  Take every wish that you may have dared to fanaticise upon for the delivery of your childhood dream Chitty and it is produced as a reality on stage.  There is a seemingly endless escalation of awesomeness as the car performs one miracle after another from its first spotlight reflecting reveal through a speeding countryside journey to a jaw dropping slow motion fall from a clifftop!  Chitty deservedly takes the final bow at the end of the show to the strains of the Superman movie theme!  WOW!

 

If you have kids (or can ‘borrow’ one) don’t miss this fantastic show … its fantasmagorical!

 

Listing Information

 

Chitty Chitty Bang Bang

King’s Theatre Glasgow

Wed 19-Sat, 29 Oct

Wed-Sat eves,7.30pm

Wed (26 Oct), Thu & Sat mats 2.30pm

Box Office 0844 871 7648 (bkg fee) Calls cost 7p per min plus your phone company’s access charge

www.atgtickets.com/glasgow (bkg fee)

 

 

 

 

 

 

Oct 5th

Sister Act at The King’s Theatre, Glasgow

By Cameron Lowe

 

Review by Cameron Lowe

 

Sister Act is raising spirits at Glasgow’s King’s Theatre this week!

 

Based on the 1992 movie starring Whoopi Goldberg, this musical has found its shining star in Alexandra Burke.  Having thoroughly enjoyed Ms Burke’s performance in the recent tour of The Bodyguard I had high expectations for this production which were quickly surpassed.  Alexandra Burke is “Heaven sent” to play the role of Deloris Van Cartier!

 

The show itself has a fantastic blend of comedic characters and a score that hits the high notes with original songs from Alan Menken (famed for Disney’s musical revival in the 90s) which fit the late 70s era perfectly.  The story puts our heroine in ‘peril’ but the delivery from Director Craig Revel Horwood is very light hearted.

 

There are some brilliant supporting performances.  Sarah Goggin shines as Sister Mary Robert – the mousy quiet nun who finds her voice – and what a VOICE!  Those who are new to this show may be surprised by the laughs generated by the ‘bad guys’ who hunt our heroine down while she seeks shelter in the convent.  The laughs come loudest from the performance of Sandy Grigelis as “TJ” – the nephew of the gang leader whose strange habits are said to “skip a generation”!  Karen Mann delivers some impressive “wow” moments as Mother Superior.  The power and vocal range of this diminutive performer was phenomenal.

 

The production is well presented with a very solid looking church interior and balcony designed by Matthew Wright.  This was swiftly (and minimally) converted into a bar, police station and street exterior as required.  The only element that didn’t quite work for me was the ‘confession scene’ which I think might have been better served by a simple confessional truck.  The sound and light show was seamlessly delivered and suitably atmospheric.

 

But back to Alexandra Burke who completely in-habit-ed the role of Deloris (#punsareNOTweapons).  I expected the vocals to be flawless and impressive (they were) but I was equally impressed with Ms Burke’s comic timing and her high energy delivery of the character as Deloris lifted the spirits of everyone around her.  A fabulous performance from an all-rounder leading lady. 

 

You MUST see this show!  There is nothing quite as entertaining as a nun in a sparkly habit singing and dancing to a hip hop beat!!

 

 

SISTER ACT – King’s Theatre, Glasgow

 

Tues 4 Oct-Sat 8 Oct

 

Tues-Sat eves, 7.30pm

 

Wed & Sat mats, 2.30pm

 

Please note Alexandra Burke will star in evening performances only

 

Box Office 0844 871 7648 (bkg fee) Calls cost up to7p per minute, plus your phone company’s access charge.

 

 

www.atgtickets.com/glasgow (bkg fee)

 

 

Sep 16th

CATS at The King's Theatre, Glasgow

By Cameron Lowe

Review by Suzanne Lowe

 

Cats holds a special place in my heart having seen it in the past countless times.  Being an avid lover of all things “dance” this show ticks all the boxes for me.

 

The show is based on the book of poems from T.S. Elliot’s “Old Possums’s Book of Practical Cats” a childhood favourite of its creator Andrew Lloyd Webber.  A completely “sung through” musical it has the added challenge for all characters, except “Old Deuteronomy” and “Grizabella”, to be accomplished dancers.

 

From the opening number, the iconic dance moves did not disappoint.  High energy and great vocals draw you into this show from the start with the exceptional level of dance awe inspiring.

 

Lucinda Shaw (Jennyanydots) gives a superb performance of The Old Gumbie Cat accompanied by her impressive troop of tap dancing Cats.

 

I was slightly bemused by the revamped version of The Rum Tum Tugger.  Having been a big fan of the original version and character this hip hop/rap style number didn’t sit well with me.  My first thought was “If it ain’t broke…….”  However my much younger companion who was experiencing Cats for the first time was completely enthralled by this number.  Marcquelle Ward (Rum Tum Tugger) produced some impressive dance moves even if it was not quite to my taste.  I felt the characters normally strong presence was perhaps diminished by the changes.

 

Marianne Benedict’s (Grizabella) moving performance of the iconic song “Memory” was a particular highlight of the night.  Her outstanding vocals ensured that the audience gave the longest applause I have heard in a long time for a solo number.   Joe Henry and Emily Langham (Mungojerrie and Rumpelteazer) delighted the crowd with their high impact routine while still delivering impressive vocals.  Lee Greenway’s (Skimbleshanks) performance of the railway cat was a joy to watch.  Always a crowd pleaser this was excellently backed up by the Cats Chorus.   Mr Mistoffelees, played by Shiv Rabheru, executed a visually entertaining phenomenal dance routine.  His impressive “spin” skills a particular highlight.  Special mention also has to go to The White Cat played by Sophia McAvoy.  A joy to watch her beautiful transitions between moves and exceptional balancing skills were a particular favourite of mine.

 

I did however, feel that the first half of the show seemed to be a little less impressive than that of the second.  Perhaps this was due to finding myself in the Gallery.  A little high up to be drawn into the cat like movements which are always carried out superbly by cast members.  Although looking down from that height gave a great view of the overall dance numbers anything happening upstage on raised levels could not be seen.  I think perhaps this did spoil the spectacle that is “Cats”. 

 

Overall, another superb performance of “Cats” by the cast and well worth seeing.  However to immerse yourself fully in this show it is well worth spending the extra money on good seats.

 

CATS – King’s Theatre, Glasgow

Tues 13 Sep-Sat 17 Sep

Tues-Sat eves, 7.30pm

Wed, Thurs & Sat mats, 2.30pm

Box Office 0844 871 7648 (bkg fee) Calls cost up to7p per minute, plus your phone company’s access charge.

www.atgtickets.com/glasgow (bkg fee)

 

Jun 15th

Footloose the Musical at The King’s Theatre, Glasgow

By Cameron Lowe

When one of your favourite shows comes to town you are faced with a choice … either to enshrine your beloved memories forever, or to see the show again and again.  For the theatre lover, the natural choice is to see that show over and over but there is always that small risk that you might taint those hallowed memories …

I was faced with just such a choice as one of my all-time favourite musicals comes to the King’s Theatre in Glasgow this week … and as ever the theatre lover in me won the day.

Footloose, the Musical is, in many ways, irrepressible.  It’s got that uplifting 80s soundtrack (Footloose, Let’s Hear it for the Boy, Holding Out for a Hero, Almost Paradise, …) and a heart rending coming of age storyline of personal loss and overcoming impossible odds.  There are plenty of comedic characters and a laugh out loud script to lighten the drama too.  This production aims to capitalise on all of those positive elements and to add another impressive factor – a cast who play live instruments!  On the face of it, it’s a great idea.  What’s not to love!?  

But, while the onstage band / cast are certainly accomplished in their delivery of this fabulous score, the inventive choreography from Matthew Cole is inevitably somewhat stifled by a cast who are carrying some extra weight – in the form of instruments! And, for many fans, this is a dance show.

Direction from Racky Plews felt a little over engineered to me.  Characters were rightfully at the heart of this show but there was a little too much pacing around the stage when Dean Pitchford’s excellent script should be left to do the talking.

On the positive side, the cast are vocally talented as well as great musicians.  Hannah Price, as Ariel, delivers a knockout big hitter in the form of “Holding Out for a Hero” but also impresses with subtle harmonies in “Learning to be Silent” where she is joined in perfect harmony by Nicky Swift and Maureen Nolan as Ethel McCormack and Vi Moore.  Joanna Sawyer,  as Rusty,  delivers possibly the best rendition of "Let's Hear it for the Boy"  I've ever heard! Comedy is delivered in spades by former 911 heartthrob, Lee Brennan, as Willard along with his talented sidekicks.  Luke Baker as Ren ticks all the boxes in an impassioned performance which showcased his many talents.

From the choreography, fans of the film should look out for a mock car race scene and a great ‘angry dance’ from Ren.

All in all, I felt that this production punched a little below its weight.  But this is a heavyweight musical with many knockout elements and it should be seen nonetheless.

Footloose the Musical

King’s Theatre Glasgow

Mon 14 – Sat 18 June 2016

Evenings 7.30pm

Wed and Sat 2.30pm

Box Office 0844 871 7648 (bkg fee) Calls cost 7p per min plus your phone company’s access charge

www.atgtickets.com/glasgow (bkg fee)

 

Jun 10th

Into The Woods at West Yorkshire Playhouse

By Cameron Lowe

Review by James McShane

Billed as the first major artistic collaboration between Opera North and West Yorkshire Playhouse, director James Brining delivers an accomplished production of Stephen Sondheim's Into the Woods, with solid performances across the board from Opera North's talented cast.

The first act of Into the Woods sees Sondheim cleverly interweave the events of classic fairy tales (Little Red Riding Hood, Cinderella, Jack and the Beanstalk and Rapunzel) with the original tale of the Baker and his wife seeking to break his family's curse. Inevitably much of the action happens off stage, and the narrative gets a little jerky at times as a result - still it is on the whole effectively done, and comes to a satisfying "happily ever after" style conclusion for all the heroes.

Happily, that is, until act 2, when the perfect fairy tale ending is shattered when the consequences of their actions catch up with them, and the characters get a dose of reality, death and betrayal. It is an interesting idea, but it lacks the coherence of the first half, and the show ends a little weaker than it begins.

To Brining's credit, he handles the transition much better than the recent film version (starring Meryl Streep). The stage direction in particular is strong - we begin in a school classroom where fairytales are told by the narrator (brilliantly played by Nicholas Butterfield) and are gradually drawn in to the woods as the mood and the setting grow darker and more realistic.

It's not all darkness of course - there is laughter, too, in the Woods. David Llewellyn delivers a memorable turn as the sleazy Big Bad Wolf, before being skinned by Rachel J. Mosley's hilariously violent Granny. Gordon D. Shaw's comic delivery as the angry Scottish Steward was excellent. Cinderella's step-family (Garrick Forbes, Miranda Bevin, Cordelia Fish, Anna Barry) are laughably tacky and dysfunctional. And of course, the ridiculously macho and melodramatic "Agony" by the two princes (Dean Robinson and Warren Gilespie) is one of the musical highlights.

In fact, the entire cast are to be commended on their performances. Claire Pascoe does justice to the challenging role of the Witch. Gillene Butterfield is a charming Cinderella. The Baker and his wife (Dean Robinson and Louise Collett) provide polished vocals. The "children" of Helen Évora (Red Riding Hood) and Nicholas Watts (Jack) are comfortable in their roles. Rapunzel's innocence and misfortune is captured admirably by Amy Freston. Even the minor roles of the Mysterious Man (Jeremy Peaker) and Jack's mother (Hazel Croft) are notably well played.

For all the show's flaws, it is still thoughtful and engaging. If you want to see it done right, skip the film and see Opera North's production at West Yorkshire theatre.

Book Tickets

Into The Woods

West Yorkshire Playhoue (Quarry Theatre)

Until 25 June

Jun 2nd

Green Day's American Idiot at The King's Theatre, Glasgow

By Cameron Lowe

The King’s Theatre in Glasgow offers an introduction to a rare musical beast; the “Punk Rock Opera” Green Day’s American Idiot.  This truly is a ‘beast’ of a show in every aspect; powerful, wild, (at times) ugly but also AWESOME!

Green Day’s 2004 release of the album “American Idiot” saw the modern punk rock band take a new direction.  It wasn’t originally intended that the album should convert to stage; more that it emulate a more thoughtfully developed album like the great rock operas ‘Quadrophenia’, ‘Ziggy Stardust and the Spiders from Mars’ or even ‘Sgt. Pepper’.  In creating their Punk Rock Opera they were able to throw away their unwritten “rule book” and approach song writing from a whole new direction – a concept album.  What was written may well have started as a ‘concept', but what emerged on stage was REAL – very real, deep and (sometimes) purposely repellent.

Brit singer / songwriter, Newton Faulkner, leads the cast as Johnny (or Jesus of Suburbia) on a year-long journey against the backdrop of reality for the lower middle classes of America following the 9/11 terror attacks.  Johnny’s experience forms the basis of social comment on a nation which was fighting a culture war to determine its own morality while desperately trying to put a face on faceless enemies overseas.  Faulkner’s image, presence and voice are perfect in this role – I found his presentation of the ballads particularly appealing and a great contrast to heavier sections of the score.  Kudos to him for playing a lead role largely in his underpants, too!

Johnny is joined by two competing characters.  “Whatshername” (beautifully voiced by X-factor’s Amelia Lily) represents ‘love’ while “St. Jimmy” (played with suitably manic fervour and equally powerful vocals by understudy Llandyll Gove) represents ‘rage’ – Johnny’s inner demon.  Both characters are a massive influence on Johnny’s actions and lead to a dramatic downward spiral.

The supporting cast are small but fantastically talented.  Each gets a chance to shine in this dark dystopian world.  The band clearly play a strong role on stage and Steve Rushton (as Johnny’s mate, Will) plays a double role as guitar #2 – typical of this multi-talented cast he sings, dances, acts and play’s some serious licks!

The choreography from Director / Choreographer, Rocky Plews, is also a major player in the show as the story unfolds almost like a ballet.  Being a rock musical, Billy Joe Armstrong’s lyrics can sometimes be overtaken by drums and guitar, so the choreography often plays a key role in outlining the lyrical intent.  The exciting (and often comedic) movement is delivered with verve by the energetic cast.

I highly recommend you see this show!  It’s not for the faint hearted – it’s deep, dark, thought provoking, lyrically colourful (they swear a lot) and sexually provocative … but this serves to deliver Green Day’s original message in a powerful format that is the perfect fit for your first ever Punk Rock Opera!

 

American Idiot

King’s Theatre Glasgow

Tue 31 May – Sat 4 June 2016

Tue, Wed, Thu evenings 7.30pm

Fri 5pm and 8.30pm

Sat 4pm and 8pm

Box Office 0844 871 7648 (bkg fee) Calls cost 7p per min plus your phone company’s access charge

www.atgtickets.com/glasgow (bkg fee)