UK Theatre Network

Howard Panter for the Ambassador Theatre Group Limited, Bill Kenwright and Robert G Bartner/Norman Tulchin present

Monty Python’s Spamalot

A new musical lovingly ripped off from Monty Python and the Holy Grail

By Eric Idle and John Du Prez

At Milton Keynes Theatre

 

I laughedalot at Spamalot as did most of the audience; it was the ideal show to take our minds off the freezing cold weather outside. The set was very colourful and the trees looked like they had sprung out of a pop up children’s book.

Matthew Kelly was excellent in the role of King Arthur who is travelling around the land with his servant Patsy (Todd Carty) trying to find suitable men to recruit as Knights of the Round Table. Todd Carty is competent in the role of Patsy who has a   basket strapped to his back loaded with goods and chattels and follows the King around banging two coconut shells together to create the sound of horse’s hooves as his master “rides” before him.

They encounter various people on their travels including Robin (Samuel Holmes) who is collecting deceased plague victims and Lance (Graham MacDuff) who is trying to dispose of Not Dead Fred, who, whilst not well, is not dead yet, although a well hefted shovel may well help him on his way.  Robin and Lance agree to become Knights of the Round Table thus becoming Sir Robin the Brave and Sir Lancelot.

Arthur meets a peasant called Dennis Galahad (Simon Lipkin) and his mother (played by Robin Armstrong and delivered in the style of Python’s Lettie Goosecreature). Following some political wrangling King Arthur calls upon the Lady of the Lake (Amy Nuttall) to prove to Dennis that she exists and just as she turned Arthur into a King, she turns Dennis into a Knight, Sir Galahad, another Knight of the Round Table. Amy Nuttall has an amazingly good voice and was excellent in the role. These Knights are joined by Sir Bedevere (Robin Armstrong) and they all assemble in Camelot, where they are contacted by God (who bears a striking resemblance to Eric Idle) and they are sent in search of the Holy Grail.

King Arthur sets off with his men into the forest, where some of them are separated and there are various encounters with other characters including the Knights who say “Ni” who insist that they are supplied with a shrubbery. Arthur thinks it unlikely that he will be able to meet their demands but is encouraged by Patsy and the song “Always Look on the Bright Side of Life.” (This song is repeated later in the show with a lyric sheet for the audience to join in). Just after this they happen to be in a position to acquire a shrubbery.

Sir Lancelot goes to the aid of what he believes is a damsel in distress but who turns out to be a young effeminate male called Prince Herbert (David Langham) who is trying to escape an arranged marriage. I thought David was particularly good in this role. Eventually King Arthur is reunited with his Knights but I will not reveal any more of the plot. If you want to find out how it ends you must go and see for yourself.

The seven musicians do a wonderful job, in the background (and at the rear of the set) most of the time but displayed to the audience in one or two scenes.

All those parts of Monty Python and the Holy Grail that you know and love are here, the Black Knight, the White Rabbit, the French Taunter, the Knights who say “Ni” together with such classics as the Fisch Schlapping Song and even a mention of wonderful plumage. The singing and dancing are excellent, the sets are bright and cheerful and this may well be the most “feel good” production I’ve seen this year.

Spamalot plays Milton Keynes Theatre until Saturday 4^th December 2010. Milton Keynes Theatre Box Office 0844 871 7652 (bkg fee).

The tour continues playing Alexandra Theatre Birmingham from Tuesday 7^th December 2010 to Saturday 1^st January 2011.

www.miltonkeynestheatre.com www.spamalotontour.co.uk

Reviewed by Sue Marks at Milton Keynes Theatre on Monday 29^th November 2010.

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Bill Kenwright by arrangement with Bob Swash presents Willy Russell’s

Blood Brothers

At Milton Keynes Theatre

 

Although Blood Brothers celebrates its 25^th anniversary, this is the first time I have seen it and I’m really glad I did.  The plot is built around twin boys who are separated at birth and are raised within different social classes and financial circumstances, thus examining the nature versus nurture issues in a non academic way. The final outcome is revealed at the start of the play, but this is no spoiler, it intensifies the emotional highs and lows which lead to its conclusion.

Niki Evans (X Factor) was outstanding in the role of Mrs Johnstone, the twins’ mother and her vocals were amazing. Her performance was so convincing there were many tears being wiped from eyes including her own and she stole the show.

Robbie Scotcher gave a strong performance as the narrator and his vocals were good. He had a certain presence which seemed to intensify the emotions being portrayed by the characters on stage.

Sean Jones played Mickey, the twin who grew up in poverty and was excellent in the role, portraying the character through various ages; as a seven year old, then a 14 year old to a young man. I loved the exuberance of the seven year old, his energy appearing limitless; he had a mischievousness that was quite endearing.

Paul Davies who took the role of Eddie, his twin brother who grew up with the middle class Lyons family, was also accomplished in the role, again taking the character from a seven year old playing with catapults through fourteen and boarding school, to a young man.

The neurotic Mrs Lyons was played by Tracy Spencer who was plausible as the middle class woman who had raised Eddie as her own. Tim Churchill was accomplished in the role of Mr Lyons who was kept busy running his company.

Kelly-Anne Gower took the part of Linda, Mickey’s school friend and she was also able to convincingly portray the character from a child to a young woman.

Daniel Taylor was Sammy, Mickey’s older brother who was sometimes in trouble with the authorities and perceived as a tearaway.

The set was fairly simple, but effective use of various backdrops and lighting produced some stunning effects.

The music (directed by Kevin Towse) was loud and effective; I thought the drums (Simon Pembery) were particularly good.  The musical numbers were excellent and well performed; I couldn’t fault anyone’s vocal ability.

This play invokes a range of emotions; it is funny, sad, horrific and shocking. At times I nearly jumped out of my skin. Its ability to provoke such an emotive response is extraordinary. At the end the cast received a standing ovation and I was among those standing. This cast is particularly good, do not miss it.

Blood Brothers plays Milton Keynes Theatre until Saturday 27^th November 2010. Milton Keynes Theatre Box Office 0844 871 7652 (bkg fee)

The tour continues in 2011 playing the Lyceum Sheffield Jan 31^st – Feb 12 2011

Theatre Royal Newcastle – upon – Tyne Feb 28^th – Mar 12^th 2011

Broadway Peterborough from 4^th Apr – 9^th Apr 2011

www.miltonkeynestheatre.com www.kenwright.com

Reviewed by Sue Marks at Milton Keynes Theatre on Monday 22^nd November 2010.

The Merry Wives of Windsor

Reviewed 16 November 2010



What is, on the face of it, a rather unattractive plot, with rather unpleasant characters is presented here as a true farce. It is Shakespeare's comedy as it’s meant to be - unpretentious, undemanding and as it is, perfect in every way.

Christopher Benjamin’s sweet, twinkly-eyed rogue, Falstaff, is charming and lovable as the central character convinced the (very) merry wives have an eye on him, while he, in turn, has an eye on their husbands’ money.

His self-assured wooings of Mistress Ford (Sarah Woodward) and his subsequent retellings of the calamities that he suffers at the hands of her and Mistress Paige (Serena Evans) are truly entertaining. Evans and Woodward are endearingly mischievous in their stringing along of Falstaff and a superb double-act. Along with Benjamin they present a series of truly hilarious scenes giving the audience genuine belly laughs and hysterics.

Andrew Havill’s completely neurotic and suspicious Ford, and the staid and sensible Page (Michael Garner), are a good balance for their bright and carefree wives with Ford himself the source of a good number of very funny moments: fawltyesque in manner.

Indeed, the whole cast are outstanding in Christopher Luscombe’s staging and look like they are having the time of their lives. Their joy is infectious. Playing to the audience for much of the time brings us into the fold of the company and the warmth of the players flows over into the auditorium.

The staging, like a mini Globe, is cleverly understated and this, along with the super Elizabethan costumes and rather wonderful musical accompaniment from a five-piece band perched on top of the central stage structure all add to the feeling of authenticity.

Theatre at its best! Go! 

Milton Keynes Theatre until 20^th Nov www.ambassadorstheatre/miltonkeynes 0844 8717652 (bkg fee)

 

Norwich Theatre Royal 23-27 Nov

 

Richmond Theatre 30 Nov – 4 Dec

 

Theatre Royal Bath 6-11 Dec

La Cenerentola

Reviewed 10 November 2010



Rossini’s opera is a huge crowd pleaser for the current Glyndebourne tour. Doing away with the Fairy Godmother figure and instead introducing the Prince’s tutor and philosopher (Paul Whelan) who, disguised as a beggar, discovers Cenerentola’s kindness and manipulates the story accordingly, means that magic is non-existent and the story becomes more of a ‘serious’ tale.
The sets (Hildegard Bechtler) are very effective in that they emphasis the tatty, dreary home of Cenerentola, her dreadful stepfather and sisters whilst not overstating the palace. Again this removes the sense of magic and make believe that is so over prevalent in the usual pantomime of this story. We have then, a serious approach to the story but fortunately not so serious that the fun is lost and this is truly a fun, and funny, production. Glyndebourne favourite Jonathan Veira, the repulsive Don Magnifico, is the central pivot for much of the comedy. He is perfectly matched by the despicable stepsisters, the excellent Anna Siminska and Victoria Zaytseva, whose ugliness of character rather than physical is played upon, although Siminska’s make up and facial contortions do well to emphasise her spiteful, sullen temperament.
Rossini’s music is complicated and extravagant; the demands on the performers are challenging, particularly the three main female roles, and this vocal complexity gives them a depth which effectively balances out the essential one dimensionality of their characters.
Making her Glyndebourne debut, Allyson McHardy is strong as Cenerentola, as is Luciano Botelho as Prince Don Ramiro; their scenes together warm and charming. Joan Martin-Royo as Dandini gives a sharp performance and delivers much of the comedy.
As always the Glydebourne orchestra are outstanding, this time with conductor Enrique Mazzola uncovering the energetic and delightful music of Rossini. 

Milton Keynes Theatre until 13 November 0870 060 6652 (Booking Fee)www.ambassadorstheatre/milton keynes

Norwich, Theatre Royal 16-20 November

Plymouth, Theatre Royal 23 –27 November

Stoke on Trent, Regent Theatre 30 November – 4 December

English National Ballet
Romeo and Juliet

Reviewed at Milton Keynes Theatre on 2nd November 2010



A truly sumptuous feast for the eyes, ears and senses from the ENB for their 60^th anniversary - this Romeo and Juliet is the perfect offering.

Nureyev’s original stunning, groundbreaking choreography propels this production forward with a lyrical rhythm full of light, puctuated with darks, reflecting Prokofiev’s score, performed superbly by the orchestra under conductor Gavin Sutherland. Along with the sumptuous costumes, understated but beautifully effective staging (Ezio Frigerio), and atmospheric lighting (Tharon Musser) this is akin to watching numerous unfolding tableaux reminiscent of Velasquez or Goya.  

The absolute technical perfection of the entire company but in particular Romeo (Vadim Muntagirov), Juliet (Daria Klimantova ), Mercutio (Yat-Sen Chang) and Tybalt (Fabian Reimair) is exceptional. The clear understanding that Vadim and Daria have of each other as dancers feeds into the expression of their relationship as the young lovers and delivers a mesmerising and heartfelt interpretation of their characters. Klimatova, as senior principal, and having danced every major role in the ballet repertoire, is the more experienced of the pairing, whilst Muntagirov is just starting out on his career at the age of twenty. He is though obviously supremely talented both technically and as an actor and has received wide acclaim. His wide eyed, sweet natured, dreamy portrayal of Romeo matches Kilmatova’s tiny, fragile Juliet and there is no question of imbalance when they are dancing together.
The fact that the restaging has been done by Patricia Ruanne,  chosen by Nureyev as Juliet to his Romeo, and Frederic Jahn who was Tybalt, both in the original staging in 1977 lends this whole production a depth and richness in its delivery.
Mercutio is the best there is: engaging, genuinely funny, charming and cheeky. Tybalt is dangerous, sexy, and strong.

The set pieces are heavily populated with the corps de ballet giving numerous little side performances and each actor is fully engaged and in character even when not in the centre of the action.
The dramatic force of the early scenes continues throughout the ballet directly pitching the light, sweet romance of the main characters against the dark, distressing feuding of their families resulting in the ultimate tragedy.
This particular combination of composer, choreographer, dancers, and designers has to be one of the most fulfilling evenings in theatre today. Wonderful stuff.

Romeo and Juliet plays Milton Keynes Theatre until 6th November

 

 

Glynis Henderson Productions Ltd and Yes/No Productions present

Stomp

Created and Directed by Luke Cresswell, Steve McNicholas

At Milton Keynes Theatre.

 

Stomp is a unique blend of percussion, dance and comedy that was created in Brighton in 1991 by Luke Cresswell and Steve McNicholas. It was the result of a ten year collaboration which began in 1981 when they were both members of the street band Pookiesnackenburger and the theatre group Cliff Hanger. These groups presented some street comedy musicals at the Edinburgh Festival during the early 1980s. There followed two albums, a UK TV series and European tours and Pookiesnackenberger produced the “bins” lager commercial. Since 1991 Stomp has toured the world and has featured in more TV commercials and other soundtracks and events.

Stomp is an amazing show I love the way they use everyday items as percussion instruments to create a variety of rhythms. They play an array of objects from brooms to the kitchen sink (which they are wearing, including the draining board) as well as oil drums and dustbin lids. The volume is generally loud which adds to the enjoyment but there was an excellent quiet episode where they were in darkness and just used lighters being flicked on and off to produce the rhythm and light effect. In another piece they used newspapers to create rhythm.

There is movement and dance throughout some of which could be described as acrobatics. The set and the clothes worn by the performers are indicative of urban street life, with a hint of light industrial, for example when they are using brooms they could be sweeping the street or the factory floor. There is also a tribal element particularly in some of the movements that involve sticks.

Given that no words are spoken throughout the performance, the performers communicate very well with the audience and encourage them to participate by clapping or stamping at certain points. There is also a comedy element running through the show usually between some of the performers and the audience. Again this is communicated very well without speech.

These performers were; Philip Batchelor, Paul Bend, Nathaniel Conroy, Aideen Gallagher, Billy Hickling, Sarah Lasaki, Laetitia Lawrence, Cameron Newlin, Andrew Pang, Jeremy Price and Ian Vincent. The Lighting Design was by Steve McNicholas and the Sound Design by Mike Roberts.

The show went down a storm with the audience which ranged from children to pensioners and huge applause and shouts of more were heard before the encore. If you’ve seen Stomp before you will want to see this, if you haven’t don’t miss this opportunity.

Stomp plays Milton Keynes Theatre until Saturday 30^th October 2010. Milton Keynes Theatre Box Office 0844 871 7652 (bkg fee).

The tour then continues playing Glasgow Theatre Royal from 2nd November to 7^th November 2010.

www.miltonkeynestheatre.com www.stomp.co.uk

Reviewed by Sue Marks at Milton Keynes Theatre on Tuesday 12^th October 2010.

 

 

The Habit if Art by Alan Bennett

Reviewed at Milton Keynes Theatre on 19th October 2010

 

 

Alan Bennett’s most recent offering is highly complex, multi-layered and at times intense. It is also clever, witty, and quite vulgar in places.  To weave all these aspects together so successfully, while keeping the overall structural harmony of the piece, is exactly why Bennett is such a brilliant writer. His continuing collaboration with director Nicholas Hytner brings this fabulous writing onto the stage and gives us a delightful masterpiece, on a par with Bennett’s massively successful ‘The History Boys’ and of which there are clear thematic connections.

 

Set in the rehearsal rooms of the National Theatre, a group of actors meet to run through a new play. This ‘play within a play’, Bennett’s imagined meeting between W.H. Auden and Benjamin Brittan in 1972, presents Auden as an unsympathetic, unattractive and seemingly shambolic character – dirty, scruffy and with filthy habits, upon his return to Oxford at the end of his life. Brittan, on the other hand is much more constrained, neat and uptight. Both actors, Desmond Barritt as Fitz (Auden) and Malcolm Sinclair as Henry (Britten) are wonderfully sharp and right on top of their material.

Matthew Cottle is superb and very funny as the biographer of the two artists, Humphrey Carpenter, played by Donald.

Donald complains that he is ‘only a device’: true, and his attempt to make Carpenter a more rounded character gives us a good laugh at the beginning of the second half.

Bob Crowley’s set design is a clever ‘set within a set’ and sits very well on this particular stage, feeling light, open and spacious enough for the thirteen strong cast to remain comfortably on stage throughout the performance. Remaining still, following the script, making notes, drinking tea whilst the play is performed in the centre of the stage they spring into life to prompt and argue about the script as the author, Neil, excellently played by Simon Bubb, looks on with frustration and exasperation as he seems to slowly but surely lose control of his work. Selina Cadell as Kay, the Stage Manager is wonderfully laconic and dry in her managing of the various egos around her.

The first half feels chaotic and shambolic, like the set but this is deliberate and sets up the contrast to the second half which is essentially calmer and more cohesive as it focuses on the dramatic detail of the encounter between Auden and Britten.

Perhaps the references to men’s nether regions and the bad language do become rather tedious after the first hour or so but this is Bennett's way.

This production is funny and fun at times but ultimately thought-provoking. You leave with a sense of unhappy men full of regrets and sadness.

 

The Habit of Art plays MK theatre until Saturday 23rd October.

www.ambassadortickets.com/milton-keynes-theatre

0844 871 7627

 

and continues its tour at

 

26 - 30 October 2010

Belfast Festival @ The Grand Opera House

 

2 - 6 November 2010

Nottingham Theatre Royal

 

9 - 13 November 2010

Leeds Grand Theatre

 

16 - 20 November 2010

Newcastle Theatre Royal

 

23 -27 November 2010

Glasgow Theatre Royal

 

The Birmingham Stage Company presents

George’s Marvellous Medicine

 by Roald Dahl Adapted by David Wood

At Milton Keynes Theatre

 

This is an excellent production from the Birmingham Stage Company (founded by Actor/Manager Neal Foster) which, although supported by Birmingham City Council, relies on box office takings for 97% of its income.

The set was extremely well designed by Jacqueline Trousdale and consisted of a cross section of George’s farmhouse home with various rooms and doors on different levels. It also incorporates special effects which are revealed later in the play. There was also a shed and animal housing outside.

George, played by Clark Devlin, is on holiday from school and has been helping his parents with chores around the farm, although he really wants to sit down and read his book about a boy wizard. His mum, played by Alison Fitzjohn discovers that her mother is coming to stay with them and her arrival is imminent. Morgan Philpott plays George’s dad who is also not pleased by this news as his mother in law is grumpy and hard to please. Grandma, played brilliantly by Erika Poole, arrives and is just as bad as they remembered; she is given George’s room and is soon ringing the bell she brought to gain attention for her demands of tea and food. Of course the famous line of “George, where’s my medicine” is uttered several times.

George fantasizes how good it would be if his grandma was different, kind, jolly and fun to have around, in fact the opposite to how she is.  Inspired by her nagging about not forgetting her medicine, George decides to concoct his own medicine in the hope that he can change her behaviour. He takes a large pan and starts looking in the bathroom for ingredients. At this point he enlists the help of the audience (largely consisting of children) to shout out if he should include various ingredients. The children respond enthusiastically as items like toilet cleaner and nail varnish are added to the pan. George visits some other rooms collecting ingredients and also adds various medications for the farm animals. George heats the pan on the cooker and eventually administers his brew to his Grandma when she calls for her medicine. Shortly after drinking the potion Grandma grows a lot taller, with her head and arms breaking through the roof.

Some of the farm animals are given the medicine and there is a giant chicken, played by Jason O’Brien, running round the stage which is really hilarious. George’s dad wants to market the medicine to create larger animals to alleviate world food shortages; however there is no medicine left, so George enlists the help of the children in the audience to remind him of the ingredients. This new medicine did not have the same effect.

Throughout the play there were excellent puppets produced by puppet master Roman Stefanski, I particularly liked the regular sized chickens that appeared in many of the scenes. I also liked the small pigs.

There were incredible sound effects produced by sound designer Tom Lishman, these included the noises of the farmyard animals like mooing, bleating and grunting and also the excellent fizzing and gurgling sounds as George’s medicine ingredients were added to the pan. The lighting was designed by Jason Taylor and was very effective.

This is an excellent play which contains an element of pantomime with audience participation and a giant chicken running amok.  Children and adults all appeared to thoroughly enjoy this production which is one not to be missed.

George’s Marvellous Medicine plays Milton Keynes Theatre until Saturday 16^th October 2010.  Milton Keynes Theatre Box Office 0844 871 7652 (bkg fee).

The tour then continues playing Buxton Opera House from Tuesday 19^th October to Saturday 23^rd October 2010.

www.miltonkeynestheatre.com www.birminghamstage.com

Reviewed by Sue Marks at Milton Keynes Theatre on Tuesday 12^th October 2010.

 

 

Hairspray
Milton Keynes Theatre
Wednesday 22nd September 2010

I believe that Hairspray is one of the best book musicals of modern times.  It has everything – great story (for a musical), great songs, great set, great costumes and wigs.  And this production of Hairspray has all that, plus great production values.  It’s light-hearted, fun, take-me-away-from-it-all entertainment.  So why didn’t I enjoy it as much as the two times I saw it in the West End?

The biggest disappointment for me was that although Laurie Scarth is undoubtedly a good Tracey Turnblad and a good musical theatre performer, I was sitting at the side of the upper circle and Laurie doesn’t know that the auditorium goes higher than the first few rows of the dress circle.  Laurie, look up to the cheap seats once in a while.  Play to the house, dear, not just the people in the best seats.   Consequently, I might as well have been at home watching on the television during the first number, “Good Morning Baltimore” as not once was I played to or engaged by Laurie.  In fact, during the entire opening number, I believe it was only “the flasher next door” who took in the entire house and included me in his performance.

I’m sad to say, this was a common theme amongst the principals and most, but not all, of the company.  I am surprised at this from the more experienced members of the cast.  Also, I do not believe that Milton Keynes Theatre is in any way one of the larger theatres the tour is visiting.  Les Dennis and Brian Conley rarely looked to the top of the house – not even at the end when taking their bow did they acknowledge the applause from the dizzy heights of the third level.

I therefore remember the performances of Carl Sanderson and Danny Bayne the most, as they brilliantly played to everyone.  Sanderson plays a variety of characters – the flasher, the owner of the hairspray company, the male authority figure, to mention just three.   He is a very funny character performer and no one missed his gags as everyone saw them. 

Bayne plays Corny Collins – an integral but could be forgotten character.  Again, well performed - and he played to the entire house!  There was no forgetting him as he made sure everyone saw his performance.


I didn’t like Brian Conley in the role of Edna Turnblad. Of course, with Michael Ball’s God given  talent, it is hard for any performer to take over a role he has played, but Conley seemed to be playing it for laughs and as Brian Conley wearing in a dress, whereas, the truth of the character, is playing it for real, and is far funnier.

The last time I saw Les Dennis was in the hilarious Eurobeat not Eurovision, when Les was brilliant.  It was one of the funniest shows I have ever seen.  Sadly, Les didn’t shine for me in Hairspray as Wilbur Turnblad.  I don’t know why.  Is it because both Dennis and Conley are comedians and neither had a straight man?

A review of this production of Hairspray would not be complete without a mention of the fabulous Sandra Marvin who plays Motormouth Maybelle.  She is brilliant.  She has the vocals of a goddess.  More please.


A couple of local girls in the cast – Seliza Sebastian who hails from Wellingborough and played a good Inez, the negro wannabe and Motormouth’s daughter, and Shakira Akabusi who plays Pearl, one of the Dynamites.  Liam Doyle was also pleasing as Link Larkin.

As would be expected from a musical of this calibre Hairspray has great costumes, fabulous wigs, high production values, perfect set, lights, band and sound.  I just needed the cast to engage with me more.

If you’ve never seen it, go and see it.  It is a treat – if only because you will come away humming the tunes.  If you haven’t got a ticket, I believe the run at Milton Keynes is nearly sold out.  However, Hairspray moves to Oxford immediately following Milton Keynes, where I understand seats are still available.  Just make sure you’re not too high up!

Hairspray plays Milton Keynes Theatre until Saturday 9th October.   Box Office number: 0844 871 7652 (bkg fee).  www.miltonkeynestheatre.com.

It then plays The New Theatre, Oxford, from 12th October to 23rd October.   http://www.newtheatreoxford.org.uk/prod-productions_details.asp?VenueID=103&pid=2229.
 
The tour continues into 2011 with the part of Edna being played by Michael Ball and Michael Starke in various venues. More information can be found at www.hairspraythetour.com.

Reviewed by Catherine Brian on 22nd September 2010.

Songtime Productions present

The Wiz

An Amateur Production by Arrangement with Musicscope & Stage Musicals of New York

Lyrics by Charlie Smalls and book by William F. Brown.

At Milton Keynes Theatre.

 

The Wiz is based on L. Frank Baum’s the Wizard of Oz and features well known characters. Dorothy is played by Steph Fearon who appeared in the BBC’s Over the Rainbow, reaching the semi-finals and whilst she wasn’t chosen to be Dorothy in Andrew Lloyd Webber’s show, it led to this role in the Wiz.

The production is directed by Matthew Chandler, founder and Principal of Songtime Theatre Arts   and Eddie Dredge who also plays the Wiz. Songtime is a unique theatre school which aims to train young people in a professional environment.

 A tornado blows Dorothy into Munchkin Land where she encounters Addaperle, the Good Witch of the North, played by Jessica Niles. Dorothy wants to get back home to Kansas and Addaperle suggests asking the Wiz for help. Steph Fearon is very plausible in the role of Dorothy and produces good vocals.

As Dorothy follows the Yellow Brick Road to Oz she meets the Scarecrow  who longs for a brain,  the Tinman  who wants a heart and the Lion  who lacks courage. Lee Thomas was a good Scarecrow, with a floppiness that one might expect from someone made of straw. Tinman Carl Spencer’s outfit was different to the usual silver foil or metal costume associated with this role, but it worked. I liked his vocals too. I thought the Lion, Billy Cullum, stole the show. Again his outfit was not the standard Lion suit, but a long leopard skin print coat worn over black tights, amazing face makeup and lion ears. He was very charismatic and was superb in the role. How a leopard skin print can work as a Lion costume I don’t know, but it did. They all agree to join Dorothy on her quest to see the Wiz hoping that he will give them what they lack. On their journey they encounter various dangers and are arrested by the Mice Squad, who were particularly good.

Eventually they reach the Emerald City and persuade the Gatekeeper (Alistair Lloyd) to let them in to see the Wiz. I liked Eddie Dredge’s Wiz on roller skates. The Wiz agrees to help them, but only if they kill the Wicked Witch of the West called Evillene. Having reluctantly agreed they arrive at the witch’s palace where they encounter Evillene (also played by Jessica Niles who is good in both roles). Killing her is easier than expected and they return to the Emerald City where they find the Wiz may not be all they hoped. Glinda the Good Witch of the South (Clare Auger) helps Dorothy by telling her how she can use her silver   shoes to get home. I don’t know why the shoes were not red.

The choreography was by Nina Jones and was well executed. There were eight girls who played Yellow Bricks, Poppies, Winkies, Monkeys, dancers in Tornado Ballet and Emerald City Ballet. Other roles were played by the ensemble which included; Munchkins, Winkies, Citizens of Oz, Mice, Crows and Kalidahs. Performers in the ensemble were from Stagecoach Theatre Arts School. I particularly liked the crows. All the children performed well and should feel pleased with their efforts.

The set was by Proscenium and there were several changes of scenery. I particularly liked the wood and Evillene’s Palace. The lighting was designed by Andy Vere and there were some good effects.

I liked the Wiz Orchestra who were; Phillip Shute (Musical Director & Piano) Rob Wicks (Keyboards) Nick Pinchbeck (Guitars) Oscar Goulding (Bass) and Mike Brazier (Drums). There were some very good guitar pieces.

It wasn’t without its little glitches, but this was an amateur production and  what it may have lacked in professionalism it more than made up for with enthusiasm. Overall it was an excellent performance and I would urge you to go and see it.

The Wiz plays Milton Keynes Theatre until Saturday 18^th September 2010. Milton Keynes Theatre Box Office 0844 871 7652 (bkg fee)

www.miltonkeynestheatre.com www.songtime.co.uk

Reviewed at Milton Keynes Theatre by Sue Marks on Tuesday 14^th September 2010.