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Dec 14th

Dick Whittington at Milton Keynes Theatre

By Alison Smith

Reviewed by Alison Smith

Poster for Dick Whittington from

Pantomime is the perfect antidote to 2016’s negativity and MK Theatre’s Dick Whittington is at the forefront of frolics and forgetting. The narrative of the journey is only a device to explore a fantastic riot of silliness and fun and, of course, as in all treasured children’s tales, the goal is reached and goodness wins the day. The story is short and simple - a poor boy, Dick, makes his way to London and by overcoming adversity becomes a rich boy. 

Dick is played by Chris Jenkins. He is accompanied everywhere by his faithful cat. Tommy, (Sophie Hart) is a black and white bundle of rat-catching acrobatics.  Dick is handsome and catches the eye of Alice Fitzwarren – but the perfect pair are from opposite sides of the track. And who tries to derail their relationship,? None other than evil personified, the Queen Rat, portrayed excellently by Samantha Womack, and her gang of ratlets

Of course Queen Rat has adversaries in the form of Fairy Bowbells (Stacey Solomon), Sarah the Cook, the Pantomime Dame, (Kevin Brewis) and Idle Jack (Kev Orkian). Stacey Solomon is the weakest of the three; she tends to gabble at times and does not have such a stage presence as her fellow actors. Kevin Brewis is excellent, despite his hideous make-up and cumbersome costumes, his timing is superb, his voice strong.  But it is Kev Orkian who captures the audience from the outset and shines throughout the performance with his energy and antics; his puns are so bad they are funny. ‘A thief stole the garden gate; I didn’t say anything in case he took offence.’ Boom boom.  And throughout, for the adults, there is racy innuendo, centred mainly around the name Dick and sausages. The writer Eric Potts has cleverly interwoven local references into the script – Bletchley, Leighton Buzzard  - and topical matters – Holby City, Lush , Sharon Osborne, even Donald Trump. The song the Twelve Days of Christmas is a masterpiece of imagination and energy performed by Sarah the Cook, Idle Jack and Bosun Bill. It includes a bra that was made for three, 5 toilet rolls and water pistols fired gleefully and accurately into the audience.

The scenery is superb, vivid and sparkly in the court of the sultan and the Lord Mayor’s office, busy and crowded in the street and kitchen scene. One wonderful scene is the underwater tumbling and swimming of Dick and Tommy and, with 3D glasses, colourful coral with an array of sea -creatures , crabs, sharks , ,and even a huge octopus came to life, frighteningly close for some of the  small children.

The music, conducted by Uncle Barry, as Idle Jack referred to him, (Barry Robinson)  supervised by Steve Power, consists of a medley of well-known pop songs.  Notable is the song competition between Dick and Queen Rat when she sings in the style of Shirley Bassey, Kate Bush and he copies Tom Jones and Queen. Marvellous!

This is the best pantomime I have seen for many years. It is clever, risqué without being vulgar, full of music, laughter and energy. It is suitable for all ages. This will be a difficult panto to follow. 

Dick Whittington is at Milton Keynes Theatre until 15th January

0844 871 7652


Nov 24th

ENB Nutcracker at Milton Keynes Theatre

By Alison Smith


Reviewed by Alison Smith 23rd November 2016 

The ENB Nutcracker ushers in the season of good tidings and joy. This ballet kindles  nostalgia, romance and, so as not to be too cloying for the adults or too frightening for the children, just a touch of terror in Mouse King and his ‘family’; nostalgia in the depiction of an Edwardian Christmas, romance in the dream of a beautiful young girl and a handsome prince, and terror when evil creatures appear. It is the tradition too, as in all fairy tales, that the ending is perfect; God is in his heaven and all is right with the world.

The English National Ballet does not disappoint on any of these details. The Edwardian Christmas in Act l is perfectly portrayed with an old-fashioned winter scene, skaters skimming (mostly) gracefully over the ice, their costumes classy, if a little dull.  And then indoors the atmosphere is warm and cosy; the Christmas decorations not too gaudy, the children, or the girls at least, well behaved. 

The young Clara is danced beautifully by Sophia Mucha; delicate and expressive she reveals all the emotions of a child at Christmas. It is Clara who is given a doll in the shape of a nutcracker by Drosselmeyer (Fabian Reimair), a family friend and uncle to the handsome boy of the romance. The older Clara was portrayed, on the evening I saw the production, by Alina Cojocaru. Ms Cojocaro captured the essence of a young girl on the edge of womanhood, a little gauche at times but spontaneous and passionate. Drosselmeyer’s nephew (Cesar Corrales) is a strong, athletic dancer, performing the most amazing grands jétés and sauts de basque seemingly effortlessly in his solo dance in the grand pas de deux with Clara. This is the pièce de resistance of the ballet, fairly traditional, but accomplished (a little fumbling in some lifts though) and tender; theirs is an excellent partnering. The third notable dancer is the nutcracker (James Forbat). I liked very much his fiery interaction with the mice. 

Mention must also be made of the corps de ballet. In the snowflake scene the dancers were crisp and graceful; as flowers they were in perfect unison. Act ll at the puppet theatre gives the opportunity for different styles of dance to be performed – Spanish, Arabian, Chinese. The most outstanding of these was the Russian dance by the male dancer (Ken Saruhashi) replete with travelling leaps. The children from Tring Park School for the Performing Arts were remarkable too, and added to the excitement of the performance, especially the boys on their hobby horses.  There were lots of touches of humour too – soldiers killed by cheese, Freddie in a strop, a forgetful grandmother and her long-suffering, if controlling, husband and the escape from danger by air balloon.

Of course the narrative is accompanied by Tchaikovsky’s marvellous score played by the ENB Philarmonic under the direction of Gavin Sutherland. Wayne Eagling, the choreographer, has merged the music and the steps magically and his talent is emulated by that of the outstanding dancers of the English National Ballet. 

This is one ballet not to be missed.


 ENB Nutcracker is at Milton Keynes Theatre until 26th November

 0844 871 7653

 Booking fee applies




Nov 15th

Relatively Speaking at Milton Keynes Theatre

By Alison Smith

Reviewed by Alison Smith 14th November 2016  

Alan Ayckbourn’s play, Relatively Speaking had its premiere in 1965 during the decade of the sexual revolution and changes in social conventions. In the 60s a young lady with an ‘interesting’ past – well four to five lovers - and a young man, recently deflowered, who cohabit after knowing each other for a month may have seemed outré, but in 2016 anything goes. For this reason the first act of Relatively Speaking is fairly dull stuff. Nobody is even mildly shocked by a young couple living together, nor by male (almost) nudity in the Home Counties on a Monday evening in November. Still this act is crucial for the scene setting. Greg (Antony Eden) is somewhat concerned about some objects in his girl’s bedsit – bouquets of flowers, gifts of chocolates, a pair of man’s black slippers and strange phone calls. 

The young lady in question, Ginny (Lindsey Campbell) claims she has forsaken all others for Greg, but doubt exists in his mind and when she purports to visit her parents for the weekend he decides to follow, having found an address handily scribbled on a cigarette packet. Of course the house is not her parents’ house at all, but that of her middle aged sugar daddy; the fun begins when Greg arrives at the house before Ginny.

This is the start of a perfectly-constructed comedy in middle England with middle-class people. And it is their conventional class behaviour which causes most laughter. Sheila, (Liza Goddard) is the wife of Ginny’s soon-to-be-ex-lover, Philip  (Robert Powell). Their marriage is going through difficulties, but following the social rules of the day she remains the dutiful wife, subservient to her husband and accepting of his idiosyncrasies.  Liza Goddard plays her role beautifully, slightly dippy but charming and polite, so polite in fact that she does not inquire who Greg is – that would not be form. Philip is a grump; a middle-aged, egotistic man going through his mid-life crisis and uncomfortable at lunch between his wife and his mistress.  And even though he is playing away from home he is jealous of his wife’s trip to Kent and letters she receives. In fact infidelity is the crux of the play and with that arises deeper issues of honesty and trust, which both couples have to face. But the depiction of Philip and Sheila’s long marriage is a master class of understanding and tenderness. 

Ayckbourn’s script is skilfully written; it is replete with clever innuendos and droll misunderstandings.The interpretation of the script by the four actors is perfect and their comic timing excellent; the repartee is batted back and forth seemingly effortlessly and this further emphasises the quality of the writing.

The second set is idyllic – a substantial house with climbing wisteria, potted plants, well-trimmed privet hedges. The garden looks its best in the summer sunshine and this is the perfect backdrop to the drama that evolves – a young couple starting out on a shared life and the older couple coming to the realisation that they mean the world to each other.

This is not a world shattering drama; it is cosy and comforting,somewhat nostalgic but principally very funny.

Relatively Speaking is at Milton Keynes Theatre until Saturday 19th November. 

0844 871 7652 

Booking fee applies


Nov 11th

Don Giovanni: Behind the Curtain at Milton Keynes Theatre

By Alison Smith

Reviewed by Alison Smith 10th November 2016 

Don Giovanni: Behind the Curtain has the subtitle ‘The Essence of Opera Revealed’ and Thursday’s performance was, for me, just that, a revelation. The performance was an educational opportunity for both novices and keen opera fans to understand the complexities of staging an opera – the music for each character, the role of the chorus, the importance of each instrument and the costumes of the singers. Opera has always been considered a high-brow music genre and to have it demystified in an amusing, down-to-earth manner was enlightening. 

I am a newcomer to opera and so I was delighted by the explanations given by Paul Rissmann. Rissmann appeared immediately after the overture and for the rest of the evening delighted the audience with his interviews, videos and even games. In the first Act there were musical excerpts from Don Giovanni with explanations of some of the different singing styles such as recitativo, which echoes the natural rhythms of speech and pushes the drama forward, arias which reveal the feelings and emotions of the character and slow the dramatic movement. 

In Don Giovanni the title character is a serial seducer of women and the murderer of the Commendatore ( Andrii Goniukov). Duncan Rock plays Don Giovanni and seeing him on the stage out of the seducer’s role, chatting to Rissmann, emphasised the magic that is a transformation into a believable opera character. The women who Giovanni pursues, Donna Anna (Ana Maria Labin), Donna Elvira (Magdalena Molendowska) and Zerlina (Louise Adler) reveal their characters through their interpretations of Mozart’s score. Elvira’s music had a constrained rhythm, which echoed the woman’s frustrated, regulated upbringing, while Zerlina, a peasant girl, was portrayed with gentle melody. Anna’s music was coloratura, a richly ornamented melody underscoring her pain. My school Italian did not help me to understand the words, but Mozart’s music for each role and the women’s musical expression were the keys to capture their emotions.  And of course there were the wonderful English supertitles above the stage! 

Act 2 included the dramatic finale of the opera in all its bloody glory, a grave used as a dinner table, a corpse as a guest and Don Giovanni damned to eternal hell fire. (impressive lighting and smoke effects for this).The dark music echoed the supernatural situation, the tragic mood delineated by the trombones; the deep bass of the Commendatore juxtaposed with the pitiful baritone of the sinner. After Don Giovanni’s death the other characters, the non-sinners, refocused their lives, Giovanni’s servant Leporello striving to find a better master, Elvira determined to enter a nunnery and the couples seeking to live happily ever after.

 This performance was well worth seeing – next time for me the complete opera Don Giovanni the Drama Giocoso. I am a convert!


Glyndebourne’s Don Giovanni: Behind The Curtain 

Thursday November 10th 

0844 871  7652 

Booking fee applies


Nov 10th

Madame Butterfly at Milton Keynes Theatre

By Alison Smith

 By Clare Morris

Cio-Cio- San ( Karah Son) proudly displays her new wedding ring watched by Pinkerton (Matteo Lippi) © Glyndeborne Productions Ltd. Photo: Clive Barda

Jerome K Jerome had the theory that all songs had the same plot: ‘There lived a lass, and there came a lad, who loved and rode away’.  This certainly holds true in Puccini’s Madame Butterfly, though with the added twist of the lad returning, but only to rub salt into the wounds. Lieutenant Pinkerton of the US Navy undertakes an arranged marriage with a young geisha known as Madame Butterfly, which she regards as binding but he has a more flexible view.  He returns to America leaving Butterfly behind and she spends the next three years awaiting his return along with the son that she bore him, of whom Pinkerton is unaware.  Pinkerton does return, not to take up with Butterfly again, but with a new American wife and they ask Butterfly to give up her son to them.  Butterfly realises that all hope of a reunion is over and takes her own life.

 The opera is set in early twentieth century Japan, but Annilese Miskimmon’s new production for Glyndebourne has been updated to the 1950’s which does cause a few problems with the story line. The production has a gritty rather than a conventional, pretty cherry blossom staging which underscores Pinkerton’s betrayal of a naïve and innocent child bride. Small points such as the copious amounts of cash being counted by Goro the marriage broker and the perfunctory confetti throwing by the secretaries, indicates clearly to it being little better than prostitution. This is further underlined by the prospective brides being displayed in a slide show as wares to be bought and sold.  This need to emphasise the reality of the situation does mean that the plot has become a bit of a square peg in a round hole.  Having their house displayed as a model when they should actually be inside it, really doesn’t work. The finale with the great love duet seems out of place in an office and why Goro allowed himself to be thrown out of his own bureau is inexplicable. In this first act the romance has been sacrificed to allow a different emphasis to the plot which unfortunately does not come off. Nicky Shaw’s sepia tinted sets are dull and whilst a change from the conventional gorgeous sets is understandable, the final result is visually unappealing and underwhelms at times.

 The flat carved cherry trees work much better in the second act and produce a charming frame for a silhouette of Butterfly and her son awaiting Pinkerton.

Cio-Cio-San (Karah Son) & Sorrow await Pinkerton © Glyndebourne Productions Ltd. Photo:Clive Barda

Cio-Cio-San (Karah Son) & Sorrow await Pinkerton © Glyndebourne Productions Ltd. Photo:Clive Barda

 In the third act, the twisting of the plot to fit the set again does not work so well. Butterfly’s attempts at becoming and ideal American wife in dress and at home are clever and sadly pathetic when contrasted with the real thing in Pinkerton’s new wife.  The death scene, however, is distinctly odd with Butterfly committing suicide behind her son whilst he plays with a toy ship. As she was sacrificing herself for his benefit, this failure to accept that he will then be left alone in a locked room with his mother’s blood stained corpse does not sustain belief.

 Musically, this is very enjoyable.  This is John Wilson’s first foray into opera after a highly successful career in films and, based on this production, will not be his last.  He brings out fine subtleties in the score and show a careful eye for detail. The Korean Karah Son is generally a fine Butterfly though on occasion her voice can become lost.  Her exquisite singing of Un bel di certainly brought a tear to my eye, though I would have preferred a more pianissimo opening like the wisp of smoke of which she is indeed singing. Matteo Lippi makes a fine Pinkerton and displays an effortless charm that would surely be needed in a bigamist who can attract two wives who both want to keep him, even when his infamy is clear. Francesco Verna was in fine voice as Sharpless and deservedly popular.

 This production may not appeal to traditionalists or to theatre goers who want a sumptuous visual spectical, as a well as fine music, but it is thought provoking and musically it is well worth seeing, with the orchestra being simply marvellous.

Madame Butterfly is at Milton Keynes Theatre on Saturday 12th November

 0844 871 7652

 Booking fee applies

Nov 2nd

The Commitments at Milton Keynes Theatre

By Alison Smith

The Commitments at Milton Keynes Theatre

 Reviewed by Alison Smith 

The best- selling novel, The Commitments, was written by Roddy Doyle in 1987. The musical is faithful to the book thanks to Roddy Doyle as the executive producer, while Caroline Jay Ranger is the director.

The set, designed by Soutra Gilmour, reflects the lives of a group of unemployed, Irish youngsters from city sink estates; the scene is grey – the sky, the buildings, their futures. Their lives centre on dole queues, spit and sawdust pubs and seedy community halls, but the set windows open to reveal brighter rooms within, a metaphor for music opening up their world to places beyond the Liffey. There are light moments to brighten the scene – a small Christmas tree, a red scooter,   Dublin showers - thanks to a man with a hose pipe.

The teenagers are a mismatched crew. Music mad Jimmy Rabbitte, (Andrew Linnie) tries to start a band; he advertises, he holds auditions, which come to nothing. So he decides to start the band with people he knows, and that is the beginning of The Commitments – committed to Soul music. Standing out  amongst the motley crew of twelve are Joey ‘The Lips’ Fagan ( Alex McMorran) – a trumpet player, teacher and old lecher, and the lead singer, Deco ( Brian Gilligan), a dislikeable, arrogant brute, saved by his one gift – a strong, soulful voice. It is Deco who eventually causes the band to split up after much water has flown along that famous dirty river and after many arguments about sex and Soul music. The band’s language is funny, crude and coarse; there are ‘feckings’ galore, but the music compensates, for when the cast sings they are a joy. The female interest for the boys in the band are Natalie (Amy Peston), Imelda (Leah Penston) and Bernie (Christina Tedders). These girls have great vocal ranges and all the right moves for backing singers.

The story does not have a happy ending; the music contract does not materialise and fortune is not made. The members of the band disperse and Joey goes back to America. The one positive outcome is a blossoming relationship between Jimmy and Imelda. Who knows where that may lead? 

But what music!  There must be around twenty Soul classics, including River Deep Mountain High, Try a Little Tenderness and What Becomes of the Broken Hearted, all performed with great emotion. In fact it is the songs which are the saving grace. When the story has run its course the audience is presented with a great medley with Brian Gilligan, no longer the self-centred Deco, centre stage and belting out excellent renditions of soul songs. 

The Commitments is at Milton Keynes Theatre until Saturday 5th November 

0844 871 7652 

Booking fee applies


Oct 25th

Cats at Milton Keynes Theatre

By Alison Smith

 Reviewed by Alison Smith 24th October 2016


I have always loved  T.S.Eliot’s Old Possum’s Book of Practical Cats for the cats themselves the curious Rum Tum Tugger, the ‘horrible cats’ Mungojerrie and Rumpelteazer, Skimbleshanks, who travels on the Night Mail train, and my particular favourite Jennyanydots, who sits and sits and sits – a cat after my own heart.

In Cats the Musical it is the characterisation of each feline which is exceptional. Partly this is done through the make-up, the wigs and the amazing costumes but in the main through the actors’ presentation of their cat alter ego, the prowling and padding, slinking and dancing. Each cat has its own idiosyncrasies brilliantly choreographed by Gillian Lynne – a mixture of ballet, jazz and acrobatics.

There is little story – but story is not missed as Cats is fundamentally a long, visually spectacular, dance sequence. John Napier’s stage is dark in Act 1; a few lights tantalise the audience.  But soon a colourful junk yard with a scattered array of disused objects – an old car, newspapers, a massive tyre, ladders and clothes, and in Act 2 a pirate ship and a train miraculously appear, the latter formed  from a tube of cloth a piston and a large parasol. Some of the discarded objects ease the entrances and exits of the cats at different levels but the cats are not limited to the stage and insinuate themselves into the aisles (to the delight of the audience.) The Jellicle cats meet in this junk yard for the Jellicle Ball on the night of the Jellicle moon to tell tales, dance, rejoice and await the decision of their leader, Old Deuteronomy, about which cat will be reborn. This gives all the felines the opportunity to be in the spotlight, in the moonlight, for a while. Deuteronomy, the wise old tom, is played impressively by Kevin Stephen Jones; the depth of his operatic voice reinforcing his rank. 

And so the cats present themselves in song and dance. I was particularly impressed by ‘magical’ Mistoffelees ‘the original conjuring cat…with surprising illusions and eccentric confusings’; Shiv Rabheru excelled himself in this technically demanding dance. Javier Cid plays Macavity: the Mystery cat, the Napoleon of Crime. His acrobatic routine demands great energy and stamina. Sadness and loneliness come in the role of Grizabella, (Marianne Benedict), once the most glamorous cat, now the social outcast. She also gives an outstanding rendition of the only memorable song of the show, the much recorded Memory.  And Jennyanydots, the old Gumbie cat, performed a wonderful tap dance routine with a clutter of beetles. Lastly Marquelle Ward’s Rum Tum Tugger is a modern twist on the role; he is a rapping, street dancing cat, a gymnastic wonder. But all the cast are excellent and come together to produce an unforgettable performance; their voices harmonise perfectly and their timing in the dance routines cannot be faulted, nor can the music. Lloyd Webber is due much praise for his ability to compose such memorable scores for Eliot’s poems.

This is an excellent show. All the performers are talented dancers and singers; they are energetic and enthusiastic and, importantly, never lose their individual cat personalities. But it is the audience that gets the cream.

 Cats is at Milton Keynes Theatre until Saturday 29th November

 0844 871 7652

Booking fee applies




Oct 17th

Footloose The Musical at Milton Keynes Theatre

By Alison Smith


Reviewed by Alison Smith 

Footloose is based on a true story – that of the town of Elmore City, Oklahoma, where dancing was banned. In Footloose the Musical there is a twist to the tale, the dancing is banned in Bomont by the vicar, Shaw Moore (Nigel Lister) after the deaths of four teenagers, including his son, driving home after a dance. Into this quiet hick town comes Ren McCormack. His father had uppped and left and, out of necessity, the family have come to live with an uncle. Ren was a student in Chicago – a place more unlike rural Bomont is difficult to envisage. So the scene is set and fireworks ensue when the young people, led by Ren, break the veto on dancing.

The main protagonist, Ren (Luke Baker), is a typical teenager, energetic, optimistic and rebellious and of course he breaks the rules of the community. His saving grace from becoming obnoxious is his charm and sympathy. Ren is aided and abetted by Ariel Moore (Hannah Price), daughter of the vicar, a fiery, trouble – seeking girl. Her previous beau was Chuck (Tom Hier), Bomont’s bad boy, and one result is confrontation between the new boyfriend and the ex. These three actors/musicians are extremely talented. As in many modern musicals, actors are expected to play instruments, dance, sing and act simultaneously. Luke Baker especially is a versatile performer who also skates and backflips and Tom Hier excels on both keyboard and guitar. However, occasionally, the individual performances- especially the dancing suffer from the multi - tasking (It is difficult to dance clutching an instrument!).

One of the attractions of the musical is the presence of Gareth Gates as Willard, Ren’s unlikely, hill-billy friend.  Gates’ comic timing is excellent, as is his dancing, but the audience was short-changed with his performance – he should be given more solos. Maureen Nolan as the vicar’s wife, Vi Moore, is outstanding; her rendition of Can You Find It In Your Heart emotional.  Mention must be made of the actors who played  Ariel's friends,  Rusty, Urleen and Wendy-Jo; they  danced, sang and played instruments  with great skill. 

Dean Pitchford and Walter Bobbie have successfully adapted the story from film to stage with its limitations of space. The choreography by Racky Plews seems overly frenetic at times, but this may appear so as the performers are somewhat limited by the lack of space. It is lucky that the drummer, David Keech, who is also the musical director is perched almost out of sight up in the set. The set rates high for adaptability - the whole of small-town life is captured – church, diner, gym.

The story setting in the first act did at times feel slow, but there was a rise in energy in the second act. The music is energising and resonated with the audience – Holding Out For a Hero and Mama Says were sung with great effect and the final number Footloose had everyone on their feet moving to the music. Footloose is satisfyingly feel-good – it is rare in real life that people who believe in what they are fighting for actually win, so it is heart-warming, if fictional, to see Belmont’s teenagers’ success.

 Footloose is at Milton Keynes Theatre until Saturday 22nd October

 0844 871 7652

 Booking fee applies


Oct 3rd

The Full Monty at Milton Keynes Theatre

By Alison Smith

 Alison Smith 3rd October 2016

The Full Monty is not about a group of men stripping off to earn a few well - needed pounds; it is about men divested of their self-esteem, families facing difficulties and communities ruined by closures. Unfortunately Simon Beaufoy’s play is not just a portrayal of the social upheavals of Thatcher’s 80’s; working class unemployment, and the despair and the fear this causes, are still rife in 2016.  The final scene, where the men go the full monty, can also be seen as a metaphor – albeit temporary – of the stripping away of the misery and the dismay of their joblessness and of the emergence of a new relationship between these men. But in fact none are any  closer to finding work and resolving their situation.

 The first scene plunges the audience into a disused steelworks complete with working crane and clanking metal. The stage design by Robert Jones is excellent – with a few changes a working man’s club, a dole office, a conservative club and a street emerge. In the empty plant Gaz (Gary Lucy) and Dave (Kai Owen) try to steal a girder to make some cash.  Gaz needs £600 for outstanding child support to be able to see his son, Nathan. Gaz is the lynch-pin of the group and the impetus behind the Chippendale-like strip is to improve the faltering relationship he has with his son.

 We are introduced to his mates including Dave, complete with beer belly and unhappy sex life, Gerald, (Andrew Dunn), a man with Conservative views, who is afraid to tell his spend thrift wife he is on the dole, and Lomper, ( Anthony Lewis), a closet homosexual.  Nathan, Gaz’s son (Reiss Ward on Press Night) plays his role with a realism not often seen in a twelve-year old and Jean (Fiona Skinner) is outstanding in her role of Dave’s understanding wife. What lifts the story from being depressing? It is the men’s respectful, generous, caring relationships, the raucous language and the earthy humour. The repartee and comic timing are excellent; all these factors come together to make an extremely watchable play. 

And of course there is the music – Hot Chocolate’s You Sexy Things, Donna Summer’s Hot Stuff in the dole queue and Tom Jones’ You Can Leave Your Hat On in the finale were joyous and accompanied by some good moves. 

The Full Monty attracts many in its audiences for the stripping scene. The play is much more than this however; it is well written, well-acted and has an underlying message  - the extent to which political power can damage people’s lives.

 The Full Monty is at Milton Keynes Theatre until Saturday 8th October 

0844 871 7652

 Booking fee applies


Sep 26th

Sister Act at Milton keynes Theatre

By Alison Smith

 Reviewed by Alison Smith

26th September 2016


Who would have thought that a tale of a diva living in a convent would generate so much fun? But this is exactly what Sister Act does. The tale in fact is ludicrous. Deloris Van Cartier is a night club singer and a gangster’s moll. Curtis, her sleazy, controlling boyfriend, (Aaron Lee Lambert) kills an informer. Deloris, a witness to the shooting, is placed by witness protection in a convent– the antithesis of Deloris’ normal hang-outs, and it is this contrast which causes much of the delight in the show. There are of course run-ins between Deloris, now Sister Mary Clarence, and the strict Mother Superior, wonderfully interpreted by Karen Mann, caution, and habits, are thrown to the wind, musical and dancing talents are rekindled, the congregation miraculously increases in number and the convent is saved from  threatened closure.

 Alexandra Burke plays the sassy, feisty female lead (aka the Godsend) and the success of the musical is, to a great extent, down to her. Her comic timing is excellent as is her voice – rich and strong; her delivery is faultless. Of course the music, gospel, Motown and soul, by Alan Menken is a gift to any musical star. Craig Revel Horwood directs and choreographs the show and fills the stage with great routines for the hoodlums, the nuns and the police. And they are a talented cast – proficient musicians as well as funky dancers and tuneful singers – nuns with saxes and violins, a trumpet playing priest, all strutting their stuff.  Mention must be made of the cop ‘sweaty’  Eddie, (Jon Robyns) who transforms to give a stupendous, John Travolta like performance of I Could Be That Guy, and the novice Sister Mary Robert (Sarah Goggin) touches hearts with The Life I never Led. 

The stage set, designed by Matthew Wright, is simple - gothic arches, a few steps and metal railings – but clever lighting enables the one set to be used as a convent, a night club and a police station. Similarly, the sound system marks the different locations with an echo being used effectively for scenes in the church.

 The musical highlights the simple emotions of sisterhood, friendship and love, all  enhanced by the joy of music. Sister Act is definitely a feel good musical.

 Sister Act is at Milton Keynes Theatre from Monday 26th September to Saturday 1st October.

 0844 871 7652 

Booking fee applies