Little Shop Of Horrors

UK National Tour

Reviewed at The Sunderland Empire Theatre

Based on a low-budget 1960 B-movie black comedy and a subsequent 1986 musical film, Little Shop Of Horrors tells the story of Seymour Krelborn, a meek florists assistant, who has his life turned around when he comes across a mysterious and unusual plant shortly after a sudden solar eclipse.

He names the plant ‘Audrey II’ after the sales girl who he is secretly in love with, but the cute little cutting does not thrive in its new environment - until Seymour accidentally pricks his finger and a drop of blood falls onto the pod of the plant, revealing its true diet. The plant grows and brings Seymour fame and fortune and the pair strike a pact: Audrey II agrees to continue generating publicity if Seymour secretly continues to satisfy its carnivorous appetite. But, before long, it develops into a monstrous, mean, green people-eater.

This sensational new touring production, fresh from a recent West End revival, is magnificent. It has everything that you could look for in a musical: a talented cast; a wonderful storyline; a great 60s-pastiche score; and a vicious form of vegetation from outer space, intent on world domination, to boot!

Performances from the cast are energetic and enthusiastic throughout and they don’t disappoint. Damian Humbley is an affable Seymour, and his performance quickly enables him to strike up a successful rapport with the audience, which he maintains consistently. Sylvester McCoy revels in his role as the cranky, conniving florist Mushnik, proving his worth as a consummate comedy actor, and Alex Ferns hurls himself wholeheartedly into several different roles, particularly Orin Scrivello – a sadistic dentist with a penchant for pain, motorcycles and leather.

However, it is Clare Buckfield, as Audrey, who shines brightest of all. Her performance is thoroughly engaging and her vocal talents are used to maximum effect.

Strong supporting performances are delivered by Nadia Di Mambro, Cathryn Davis and Donna Hines as Chiffon, Crystal and Ronette, a chorus of street urchins from Skid Row. Mike McShane is wonderful, too, as the voice of the ill-tempered, foul-mouthed, R&B singing carnivore.

The combination of direction from Matthew White, choreography by Lynne Page and David Farley’s design ensures that the production is also visually stunning. It’s a monster hit!

Steve Burbridge.

Little Shop Of Horrors runs at The Sunderland Empire until Saturday 18^th April 2009.

www.littleshopthemusical.co.uk

Lesley Joseph leads a strong cast in this musical which takes a comic look at all aspects of the menopause.  While this may seem to be an unusual topic for a musical, it was certainly something that 99 percent of the audience could relate to!

Julie Benson’s laugh-a-minute script hits just the right tone for this girls’ night out production.  Based upon the research for her highly acclaimed book “How to Approach the Change and Win”, the hormone fuelled dialog cracks along at a great pace and produces perfect situational vehicles for the cast to let off some steam.  While the original music is let down somewhat by the lack of a live band and a somewhat reedy electronic air, the tunes are catchy and the lyrics build on the quickly established characters nicely.

Lesley Joseph (Myra) led the small cast well with a feisty character and some hilarious physical comedy. Hilary O’Neil (Sylvia) and Anne Smith (Helen) added vocal strength and, alongside Ruth Keeling (Jessica), covered the majority of middle aged female stereotypes to poke fun (and an Ann Summers rabbit) at!  Hot Flush veteran, Sam Kane (playing all the men in their lives) gave a supremely confident comic performance on his second national tour of the show.

Clearly not for the young (or the faint of heart) this is a highly entertaining show for all women and many brave, confident men!

Listings Info:

Hot Flush

King’s Theatre, Glasgow

Mon 13 – Sat 18 April

Mon – Thu eves 7.30pm

Fri & Sat 5.30pm & 8.30pm

Tickets: £12.50 - £25.50

Box Office 0870 060 6648 (Bkg)

Bill Kenwright Limited presents

Cabaret

directed by Rufus Norris
book by Joe Masteroff
music by John Kander
lyrics by Fred Ebb

Reviewed by Sue Marks at Milton Keynes Theatre on Monday 13^th April 2009.

If you like your theatre dark and raunchy then this is for you. Set in and around the Kit Kat Club in 1931 this play provides a snapshot of pre-fascist Berlin. Already considered a decadent city, the recent abolition of censorship had facilitated a new age of permissiveness.

The overall theme of the set is black with flashes of colour or strips of light bulbs to accentuate its darkness. There is an initial sign with letters a metre high spelling out wilkommen in three sets of three, allowing an opening iris in the centre of the O and a kiosk window in the upper half of the E. The rear of the stage was split three above and three below giving the effect of looking into six different rooms. This was sometimes enhanced with a staircase in the centre. There was also a plain black fascia with three black doors in. Props included three beds, two straight ladders and a large wheeled set of steps. Using these fairly simple sets this production managed some nineteen scenes including street scenes, border control, the club, apartments and a shop. I thought the total effect was visually striking and very professional.

This show centres on the relationship between Clifford Bradshaw played by Henry Luxemburg and Sally Bowles played by Samantha Barks. Both of these actors gave a fine performance and sang well, Miss Barks in particular having an incredibly powerful voice. The major part in the show has to be that of the MC at the Kit Kat Club which Wayne Sleep has made his own in his usual charismatic way. Fraulein Schneider was taken by Jenny Logan who gave a good all round performance, which I found particularly endearing. The other major characters were Ernst Ludwig played by Karl Moffatt, Herr Schultz played by Matt Zimmerman and Fraulein Kost played by Suanne Braun who all gave a fine performance.  I especially enjoyed Matt Zimmerman’s portrayal of the character Herr Schultz. The members of the cabaret were Danni Bowen, Jessica Ellen, Nouska Hanly, Lucy James, Hendrick January, Alistair Postlethwaite, Rebecca Scarrott, Benjamin Timothy, Cydney Uffindell-Phillips and Tom Woods.  Although he had a minor part I found Theo Cook’s performance as Hans in the last scene of Act one particularly good.

Whilst much of the costume was down to suspenders and stockings Wayne Sleep’s attire can only be described as lavish including a leather Basque, lederhosen and boots worn with a tailcoat, velvet suits and a stylised cat outfit composed of long fur which started behind the head  and came over the shoulders finishing behind the back in a long tail. Coats were worn where lingerie would have been inappropriate and mention must be made of Sally Bowles fur coat.

I found the music excellent not only in terms of the score written by John Kander but also the little hints of thirties jazz played before the acts which provided appropriate ambience. The sound quality and volume were good effectively complimenting actors’ voices and not drowning them.

I thought it was well choreographed and dance sequences were well performed. Wayne’s Sleep’s dancing lived up to expectations and was excellent.

I really enjoyed this performance; I thought it was an excellent production which clearly demonstrated that everyone involved had worked hard to achieve this standard.

Cabaret plays Milton Keynes Theatre until Saturday 18^th April 2009.  Milton Keynes Theatre Box Office 0870 060 6652 (bkg fee).The tour then continues playing The Churchill Bromley from Monday 20^th to Saturday 25^th April 2009.

www.miltonkeynestheatre.com www.kenwright.com

Reviewed by Sue Marks at Milton Keynes Theatre on Monday 13^th April 2009.

Steve Burbridge In Conversation With . . . Catherine Porter

Catherine Porter’s diverse career has included leading roles on West End, Broadway and worldwide theatre stages with Andrew Lloyd Webber, Michael Crawford, John Barrowman and Michael Ball to recording and touring with rock legends Queen. Her latest album, Gems For Ruby, is a collection of songs from the 60s, 70s and 80s that is dedicated to her three-year-old daughter, Ruby.

Gems For Ruby is a stunning collection of cover versions that are a gift for your daughter. What inspired you to record the album?

Following the birth of my daughter, and having had to be a full-time Mom for a while, I wanted to do something creative again. I also wanted Ruby to hear songs that I loved, but in a way that I heard music when I was her age. When I was three, my parents used to play Julie London and Doris Day and my grandparents were Italian so we would have Italian arias being played and ballads by Mario Lanza, so I developed a fondness for a ballad with lots of strings. I thought it would be fun to take some songs from the 70s and 80s that I’ve always loved and turned them on their sides. It was very risky and we had a lot of nerve but people will see that I’m not making fun of the songs, that I’m kind of reinventing them and giving an opportunity for the lyrics to be heard in a different way.

You must have been thrilled to perform a Queen song (Somebody To Love) with accompaniment on the guitar from Brian May?

I worked with Brian years ago on his ‘Back To The Light’ tour and we’ve remained friends ever since. When I told him I was doing this we played the track to him and the opportunity arose to invite him to play on it, which he did. That made the album all the more personal for me.

Was it difficult choosing only eleven tracks and how did you decide which to include and which to leave out?

It was really hard. We went through – I don’t even know – thousands of songs during the two year process. I was dying to include a Stevie Wonder song but it didn’t work out, which was disappointing and there were songs that I knew had to be included such as ‘More Today Than Yesterday.’ The guys came up with ideas and I came up with ideas and we finally came down to these eleven.

You’ve recently completed a series of gigs at the legendary Ronnie Scott’s club. Tell me about that?

That was fantastic! The album was studio-recorded, so performing there was my first chance to sing the songs live. I played with some real hot, talented musicians and it was very well received.

Are you now concentrating solely on your recording career or would you like to do more musical theatre?

I wanna keep doing what I’ve been doing. I’ve always gone back and forth between recording, concerts and theatre and I enjoy that.

Who are your biggest influences?

At the moment, my daughter. I am inspired in various ways by different people. I have to say that Brian May is an inspiration and when I was touring with him I learned an awful lot. I was inspired by Petula Clark and I absolutely adore her as a performer and a human being. For being such a legend, she has no airs and graces, whatsoever. Musically, there are hundreds – Ricky Lee Jones, Stevie Wonder, Aretha Franklin and Elaine Paige to name only a few!

Who would you most like to sing a duet with?

That’s a toss-up between Stevie Wonder and Randy Newman.

What has been the proudest moment of your career, so far?

I think, probably, this album. But, you know, I feel proud of everything that I do.

Easy listening music seems to be enjoying a renaissance at present. Why do you think this is?

Oh, people are very stressed! I think easy listening helps them to calm down and chill out.

Gems For Ruby by Catherine Porter was released on 30^th March 2009 on the Swing Cafe Label. Distributed by NOVA via Universal Music Operations Limited.

Boeing Boeing by Marc Camoletti translated by Beverley Cross and Francis Evans

Reviewed by Sue Marks at Milton Keynes Theatre on Monday 6^th April 2009.

I haven’t laughed so much for a long time, this production was hilariously funny and the rest of the audience thought so too. 

The play was set in a Paris flat which was the home of Bernard, a successful architect who was engaged to three women he had no intention of   marrying. The women were all Air Hostesses who worked for different airlines. American Gloria was with TWA, Italian Gabriella with Al Italia and German Gretchen flew with Lufthansa. Their varied schedules meant their paths had never crossed and Bernard’s housekeeper catered for their different tastes. Bernard thought his situation was watertight, until his long lost country cousin Robert came to stay. Soon flights were delayed and schedules were disrupted, which led to people being in the flat at the wrong time, with hilarious consequences.

The set looked very professional; it was based around Bernard’s living room, with several doors opening off it. No set changes were necessary as the action involved characters going in and out of different rooms or the main entrance to the flat. Lighting was used to good effect. There was a good sound effect when two characters left the flat but could still be heard talking as if from outside.

Gloria was played by Sarah Jayne Dunn and she executed the part of a blonde American air hostess well and her accent was very believable. She also managed to capture the irritating whiny drawl associated with such a character.

Bernard was taken by Martin Marquez who also gave a good performance and was totally plausible in the role. He was also quite amusing when his life got chaotic.

Bertha was played by Susie Blake and I loved her performance, which was outstanding. She was incredibly funny as the somewhat dour housekeeper. She was one of my favourite characters.

The role of Robert was taken by John Marquez who also played the part really well and I found him very amusing also. I don’t know why he had a Welsh accent, but it added to the humour.

Gabriella was played by Thaila Zucchi and she did an excellent job as the feisty Italian, also very funny, excellent accent and totally plausible in the role.

Then there was Gretchen brilliantly played by Josephine Butler who was hilariously funny as this character. Forget feisty, she was scary, certainly not someone to be trifled with and she was my favourite. Once again a really excellent accent and totally plausible in the role.  An absolutely outstanding performance.

I thought all the cast performed well and the timing was excellent. Everyone involved had clearly put a lot of effort into this show.

The costumes were very good with the Air Hostess uniforms reflecting their different airlines, whilst remaining plausible attire. The men were suitably dressed to reflect their lifestyle and the housekeeper’s clothes were also appropriate.

The performance ended with some upbeat music and a light show effect produced from shining coloured lights onto a mirror ball.

I thought this was an excellent show and one not to be missed. It was so funny it was mood changing, lifting the spirits.

Boeing Boeing plays Milton Keynes Theatre until Saturday 11^th April 2009. The tour then continues playing Theatre Royal Brighton from Monday 13^th to Saturday 18^th April 2009. Milton Keynes Theatre Box Office 0870 060 6652 (bkg fee)

www.miltonkeynestheatre.com www.boeingboeing.co.uk

Reviewed by Sue Marks at Milton Keynes Theatre on Monday 6^th April 2009 on behalf of Catherine Brian.

Cult classic Little Shop of Horrors shocks, horrifies and delights in equal measure on the only Scottish dates of this national tour.

From ‘curtain-up’ it was clear that this is a technically astonishing production.  The scale of the set combined with lighting and sound effects to enhance the impact of the jawdropping plant animatronics and puppeteer work.  This show really pushes the boundaries of what can be achieved on a touring production.  On a couple of occasions on opening night it almost seemed like it might be hanging on by its technical fingertips … but the presentation was (quite literally) out of this world.

While the music and book dripped from the pen of a partnership hailed for the revival of the Disney musical (Ashman and Menken collaborated on The Little Mermaid, Beauty and the Beast and Aladdin while, following Ashman’s untimely death, Menken went on to compose Pocahontas, Hercules and others) parents would do well to note that this puppet centred production owes more to its 1950s shock-horror sci-fi roots!  In fact, fans of the original 1959 B-movie will be delighted to note that this production revels in the original macabre storyline.

Performances from the headline cast were solid throughout.  Sylvester McCoy (Mushnik) and Alex Ferns (Orin Scrivello, DDS) immersed themselves to hilarious effect in their outlandish characters.  Clare Buckfield delivered an understated but enjoyable Audrey while Damien Humbley was convincingly torn (chewed and swallowed) as Seymour.  Vocal plaudits must go to trio Nadi Di Mambro, Cathryn Davis and Donna Hines as Chiffon, Crystal and Ronette together with Mike McShane, who was an inspired choice as Audrey II.  Music from the pit seemed a little thin from the five band members but what they lacked in depth they made up for in gusto.

LISTINGS INFO:

Mon 6 – Sat 11 April

Mon – Sat eves 7.30pm

Wed & Sat mats 2.30pm

Box Office: 0870 060 6648 (bkg)

Tickets: £11 -£31

A challenging two-handed one act play which intrigues its audience by presenting two different perceptions of a situation.

Steve Hay is Reg Armitage, a slightly curmudgeonly Scottish ornithologist who, pretty much by chance, finds himself living in model Dymphne Pugh Gooch’s flat whilst she is away.  Unfortunately Dymphne, beautifully played by beautiful Alexa Brown, needs to reclaim her living space sooner than expected and the two find themselves sharing the flat. 

David Halliwell’s play might be examining an existential theme but at least it has enough wit to hold the audience rather than baffling them entirely.  Sarah Dodd’s production is simply staged with little more than a couple of chairs, a table, two plinths and some white lines to define the space and she is served well by strong performers who have to deliver some fairly hefty monologues alongside the more snappy dialogue as Reg, Dymphne, and thus the audience, discover their ideas of who they are and how the other will react are often way of mark.

Occasionally the lighting, which was probably meant to assist the audience in knowing whose perception we were following, only served to confuse on the first night at the OFS Studio and the production was further hindered for this reviewer by uncomfortable seating.  However, the actors were strong, with Steve Hay particularly good at engaging the audience, and although both characters could have been unlikeable they succeeded in winning over both us and each other.

It’s just another day in down-town Newcastle as under-employed architect Phil sits in his high-rise office, brooding over the post-industrial cityscape and waiting for the hands on the clock to strike “elevensies”.  But his caffeine cravings are interrupted when a sultry saxophone solo announces the arrival of a mysterious blonde.  Ella has sashayed into his life in search of a rare recording by one of the early jazz greats, Buddy Bolden.  There are just two flaws in her plan: she’s in the wrong office (the private dick’s downstairs); and Buddy Bolden never cut a record.

Phil’s intrigue is further piqued by hot information from his caffeine-dealer, Frank-from-the-coffee-shop, who gives him the low-down on a dodgy-sounding city regeneration scheme being proposed by a bunch of southerners (boo, hiss).  This leads our accidental PI to infiltrate Fat Jack’s jazz club, and later crash an invitation-only urban planning presentation under cover of a tray of award-winning panninis.  The consequences are unexpectedly rewarding for Phil, until the world-wide recession throws in a wild card.

If you enjoyed Alan Plater’s classic 1985 TV comedy-drama The Beiderbecke Affair, then you’ll love his new work Looking for Buddy, which contains many of the same eclectic ingredients – the spoof film noir style, a critique of capitalism filtered through the prism of local government, and the quest for a rare jazz record.  But fittingly Looking for Buddy isn’t merely a comedy-drama, but also a musical, so we also get the huge bonus of brand new songs composed by band leader Alan Barnes, and a live jazz quartet led by musical director Howard Gray (nicely integrated with the action).

Tim Healy (Auf Wiedersehen Pet, Billy Elliot) takes centre-stage as a convincingly ramshackle Phil, soliloquising in the best hard-bitten, semi-confessional Chandleresque manner.  Plater’s dry northern humour is delivered by the whole cast in a clever hybrid of broad Geordie and Philip Marlowe, which at first takes a little adjustment for Bolton-based ears.  And although some of the local references will make more sense when the production transfers to Newcastle, the enthusiasm and warmth of the multi-talented cast needs no gloss or translation.

Joe Stathers-Tracey has designed a continuous multi-media backdrop to flesh out the locations, but frankly the script, music and acting evoke the sense of time and place so well that it seems almost superfluous.  Director Mark Babych has come up with yet another production which is a credit to the Octagon – it’s fantastic that a whole new audience on the other side of the country will have the opportunity to experience it too.

Looking For Buddy is on at Bolton Octagon until Saturday 25 April 2009

Tickets: from £9.00

Evenings: Mon-Sat at 7.30pm

Matinees: Wednesday 15 April and Saturday 25 April @ 2pm

Box Office: 01204 520661

www.octagonbolton.co.uk

Nevis Radio - Saturday 12pm-2pm 

Lesley Garrett opens up the show today with 'Climb Every Mountain'. Followed by Duffy, Kid Rock, Razorlight, The Kooks and The Fratellis. 

Click on the streaming link below to listen online today.

http://stream01.keyone.co.uk/nevis

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The Elixir of Love

An Opera in Acts performed by The Welsh National Opera

Composed by Gaetano Donizetti

Review by Yvonne Penne-Stuart

What a delightful evening – certainly one to uplift the spirits.  The cast obviously enjoyed performing this merry romantic comedy, and clearly the audience enjoyed watching it.

http://www.uktheatre.tv/magazine/read/the-elixir-of-love_89.html

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Encore by A Stage Kindly

Review by Tremayne Potter

May I first say what a novel idea it was to showcase original material from New International Musicals, as well as The Company cleverly including their own material in the line-up.

http://www.uktheatre.tv/magazine/read/encore-by-a-stage-kindly-_86.html

“For King and Country” - King’s Theatre, Edinburgh, 31 March to 4 April 2009

Review by John Sinclair

The play helps to highlight the human tragedy of war. How circumstances can make a person treat their fellow man in such a cruel way.  Also, how anyone who tries to make a stand against this is crushed by an unjust and uncaring system

http://www.uktheatre.tv/magazine/read/�for-king-and-country�---king�s-theatre-edinburgh-31-march-to-4-april-2009_88.html

Hot Flush !

UK National Tour

Reviewed at Darlington Civic Theatre

Myra, Sylvia, Jessica and Helen all have one thing in common – they are each going through the menopause. The women meet every Tuesday evening to share in their experiences, their secrets, their highs and lows and, together, they make up the ‘Hot Flush Club.’

http://www.uktheatre.tv/magazine/read/hot-flush!_87.html

God Of Carnage

Review by Catherine Brian

God of Carnage is a one act situation comedy.  The situation is two sets of parents meeting in one of their apartments in order to discuss one of the couple’s sons being hit by the other couple’s son.  A believable situation.

http://www.uktheatre.tv/magazine/read/god-of-carnage_85.html

The Russian State Ballet of Siberia - Giselle

Review by Yvonne Penne-Stuart

I have never seen Giselle before but this production by the Russian State Ballet of Siberia was really worth waiting for.  This is of course a truly romantic ballet in the old fashion fantasy style with beautiful sets and magnificent costumes.

http://www.uktheatre.tv/magazine/read/the-russian-state-ballet-of-siberia---giselle_83.html

The Russian State Ballet of Siberia - Coppelia

2009 UK Tour

Review by Yvonne Penne-Stuart

The sets and costumes were extremely colourful; some might think the former were a little over the top at times, but that is really what Coppelia is all about.  The dancing was of excellent quality, with Natalia Goroshko dancing Swanilda being outstandingly the best.

http://www.uktheatre.tv/magazine/read/the-russian-state-ballet-of-siberia---coppelia_84.html

A Sentimental Journey

at The Mill at Sonning until April 19 2009

Review by Clare Brotherwood

In the fifties and sixties Doris Day churned out 39 movies and 650 pop songs. But she is equally remembered for her wholesome image. However, in A Sentimental Journey - which is currently enjoying its world premiere - writer Adam Rolston lifts the lid on her life to reveal three marriages before she was 30, bereavement, and a life-changing car accident.

http://www.uktheatre.tv/magazine/read/a-sentimental-journey-at-the-mill-at-sonning-until-april-19-2009_81.html

Duet For One at the Theatre Royal Windsor

Review by Clare Brotherwood

If Juliet Stevenson doesn’t win an award for her role in the powerful two-hander Duet For One, then I’ll lose faith in life itself…

http://www.uktheatre.tv/magazine/read/duet-for-one-at-the-theatre-royal-windsor_80.html

UKFILM.TV

Flash of Genius

Review by Katherine Hayes

It’s an entertaining piece of film making which shows an insight into the lengths to which big car corporations in the 1960s through to the 1980s went to silence their detractors.

http://www.ukfilm.tv/magazine/read/flash-of-genius-_32.html

 

The Elixir of Love

An Opera in Acts performed by The Welsh National Opera

Composed by Gaetano Donizetti

What a delightful evening – certainly one to uplift the spirits.  The cast obviously enjoyed performing this merry romantic comedy, and clearly the audience enjoyed watching it.

Updating the action to the mid-fifties worked extremely well.  Both acts took place in a small village on the Italian Riviera and the set design was stunning with a real Mediterranean atmosphere.

There were two cast changes, one of which was Dr. Dulcamara sung by Donald Maxwell, who was truly excellent.  As well as a good voice, he has an acting ability which brought the part to life.  The other change was Nemorino, sung by Robin Tritschler. Adina, sung by Camilla Roberts, had a strong, pretty voice and did the part justice with her portrayal of the part as well.  As always with the Welsh National Opera, the acting of the whole cast was very strong, as was clearly shown in Act 2 when the females found themselves very much suffering from the influences of a good pre-wedding party.

The choreographer, Tim Claydon, must be commended, as must the superb orchestra, conducted by Simon Phillippa.

The Welsh National Opera is at the Milton Keynes Theatre until Saturday 4^th April.  Miltong Keynes Box Office 0870 060 6652 (bkg fee) www.miltonkeynestheatre.com.  For future dates please see www.wno.org.uk

Reviewed by Yvonne Penne-Stuart at the Milton Keynes Theatre on Thursday 2^nd April 2009.