UK Theatre Network

“They don’t make musicals like that anymore”.  It is an often overheard complaint from the audience after seeing one of the classics.  South Pacific, West Side Story, Guys and Dolls; they are “classics” for a reason and, these days, all we seem to see onstage are revivals of the same old shows or ‘Juke Box’ musicals!  Right?  Wrong.  Read on …

“So here’s an idea …”, said Flora Suk-Hwa Yoon, the award winning producer of Song and Dance, Saturday Night Fever and the recent tour of Irving Berlin’s “Top Hat”; “… why not revive a show with a classic pedigree, with huge laughs and great characters and a fabulous score … that HASN’T been seen on stage in the UK since 1987?”.  She had only to look into the back catalogue of legendary composer, Leonard Bernstein, for inspiration.

Wonderful Town is a musical in the classic mould.  It opens with an almost “Runyonland” focus on life and character, develops a timeless ‘will they, won’t they’ love story with a comedic script and a fun packed score and ends on a high note.  There were so many highlights!  I was looking forward to “Swing” in the second act, which was the easiest find on YouTube ahead of the show.  The “Christopher Street” opening introduced many key characters with a great pickmeup vibe.  The first of three male chorus numbers “What a Waste” was a hit, as were “Conga!” and, best of the bunch, “My Darlin’ Eileen” which followed.  And I couldn’t fail to mention “Conversation Piece” (which I have subtitled “The Awkward Song” for my own amusement!) and the great toe-tapping finale “Wrong Note Rag”!

So, now the question that needs to be asked is: “Why are these numbers not more famous?”.  If this production achieves the audiences it deserves, they soon will be!

Headliner, Connie Fisher, gave a solid character performance as Ruth.  Hers was an unassuming, put-upon character which slowly won me over (as I am someone who is used to more ‘pazzazz’ from a musical lead).  Vocally, her performance was unwavering from some tricky harmonies but, again, it is unusual to see the lead character take the lower alto line from the score.  Not bad, just different.  Lucy van Gasse played Ruth’s sister, Eileen.  She is the “prettier, talented, dancer” sister who gets all of the attention from the boys.  But, thanks to her deliciously sweet nature and a genuine feeling of sisterly love from Ruth, Eileen never draws anything but admiration from the audience.

The principals were supported by an animated and characterful cast with high energy dance routines and virtually flawless accents across a varied cultural spectrum (earning a big tick from me).  Giovanni Spanó stood out, even from this talented ensemble.  You will recognise him as the Eskimo Pie Man later in the first act, but you will have spotted him long before then due to his committed and energetic character acting and sublime dancing ability.

The production was beautiful.  Solid sets and atmospheric lighting were enhanced by colourful costumes reminiscent of the 1930s era.  Director, Braham Murray, was clearly instrumental in delivering a slight air of fantasy which helped the larger than life characters seem to fit their environment perfectly.  Choreography from Andrew Wright was the icing on the cake.  The style was very much inspired by the 50s roots of this musical yet seemed a perfect fit for the bohemian setting of New York's Village in the 1930s.  The entire show oozed class and charisma with every dance step, every spoken word and every Bernstein note.  Beautiful.

Wonderful Town

Tue 8 – Sat 12 May

Tue – Sat eves 7.30pm

Wed mat 2.30om, Sat mat 3pm

Tickets: £19.50 - £39.50

The Monkees swing into town this week as Michael Rose and Ambassador Theatre Group present this zany comedy musical featuring the hits of the 60s TV pop band.

If, like me, you are old enough to remember a time when The Monkees took up a regular slot in the TV schedule you (firstly) should be commended for your ability to “surf the information superhighway” (at your age) to find this review and (secondly) should get down to The King’s Theatre in Glasgow to treat yourself to a flashback smile that will last until the end of the week.  If, on the other hand, you are too young to remember The Monkees, you will have to see this show for yourself in order to work out what the rest of this glowing review is on about!

To recap, The Monkees were among the first ever ‘manufactured’ pop bands.  The group were assembled in 1966 specifically for a comedy TV series in the USA.  Band members Micky Dolenz, Michael Nesmith, Peter Tork and, Englishman, Davy Jones enjoyed a four year run in America and subsequent global syndication.  The series featured the band playing “themselves” as they went about the business of being a famous pop group with the laughs coming thick and fast as the band found themselves in bizarre situations each week (Peter sells his soul by accident, The Monkees find themselves marooned on a Treasure Island, Davy becomes a professional boxer, etc.).  This would be simple, whacky 60s sit-com fayre if it were not for the cracking soundtrack from the band including songs like Daydream Believer, Last Train to Clarksville, Pleasant Valley Sunday, Steppin’ Stone, I’m A Believer and, of course, The Monkees Theme – all of which feature in this production.

The musical storyline finds four talented Monkee lookalikes standing in for the original Monkees in 1968 to perform a World Tour posing as the band while the real Monkees record the TV shows.  Of course, the story is complicated by the introduction of Russian spies, international assassins and more swinging 60s chicks than a Monkee could shake a stick at.  The script is very entertaining throughout and retains that 60s “one-liner” vibe.

The show is very nicely styled with costumes, choreography, set, music, vocal harmonies and lighting visuals all convincingly transporting the audience to 1968.  This is not the biggest budget show you will ever see but some of the smallest details put a real gloss on the presentation.  Things like the Air Stewardess dance routine that looks like Bob Fosse had put the standard aircraft safety demonstration to music.  Or the lighting cue that started a single spiral gobo revolving up-stage left growing to two, three, six and then a whole stage of spinning light effects as the dancers move across the floor.  Every detail was thoroughly thought out and simply, but effectively, executed.

Performances were very strong throughout.  The principal cast were helped by the fact that the plot did not call for perfect impersonations, but Tom Parsons (playing Mark, posing as Mike) looked the part and had a stand-out Texas accent while Stephen Kirwan (playing Andy, posing as Micky) really did sound like the original Micky Dolenz – who was often credited as being the heart of the original Monkees sound.  Linal Haft added further comedic value as gruff manager, Joey Finkelstein, and Michelle Bishop displayed her character skills (and a couple of other things) as sexy spy Nikita Smirnoff.  Vocally, the show was nothing short of superb.

Listings Info:

Monkee Business – The Musical

King’s Theatre, Glasgow

Tuesday 17 – Saturday 21 April 2012

Perf times Tue – sat 7.30pm

Ticket prices £19.50 - £39.50

Box Office 08448 717 648 (Bkg fee)

www.ambassadortickets.com/glasgow (bkg fee)

How do you get yourself in the mood for Christmas? Wrapping the presents? Work’s Christmas Night Out? Finishing the shopping? Taking the kids to see Santa? Well for me it is going to see a Pantomime (I usually see at least 10 each year!).

At Glasgow’s King’s Theatre it is a start studded panto indeed for Sleeping Beauty. I’d Do Anything Finalist Keith Jack as Prince Joseph of Jordan Hill, River City’s Lorna Anderson as Princess Beauty, Altered Images songstress Clare Grogan as evil fairy Carabosse and Rab C Nesbitt’s Jamesie Cotter, Tony Roper as her Henchman Hector and topping the bill Karen Dunbar. And Ms Dunbar proves why she is top of the bill for this pantomime, with a first half that was nearly a full cabaret show. Her energy and vocal talents shone in her rendition of Step Back In Time and her comic timing was evident throughout the show, but no better example than when dealing with shout outs from the audience – her quick wit making her a gem for panto. Her comedy “romance” with Tony Roper was a good pairing, allowing two comics lots of time to play and the clever reworking of West Side Story’s Maria is a comic performance not to be missed.

A revelation in this show was Lorna Anderson – her presence on the stage was excellent and she certainly matched (and on many occasion even topped) Mr Jack’s singing voice in their powerful duets. I would have liked to see her with a more “princess-y” dress for her “birthday party” but that is a minor issue in what is mostly a well costumed show. Top marks for this show must go to Musical Director/Arranger, Pamela Dunsmuir (or as the kids in the audience now know her, Auntie Pam), as the songs were well paced and sounded great, and her small live band were extremely tight on the night too. I am usually a fan of Eric Potts pantomime scripts, but did feel a slight lack of the usual “sparkle” or “magic” that the Kings Theatre usually produces, however as the cast get used to the show and continue to add their own topical material (there were already references to the hurricane and it was only just happening outside at that moment!) I’m sure this will return.

Rounding off the comics in the cast was Arron Usher as Jimmy Jingles the Jester. Although his first Kings Pantomime, his pedigree of many years working on the East Coast pantomimes certainly shines through. Although given the thin end of the wedge with the comedy dialogue (the big lines seem to have gone to the TV comics) his physical humour and interplay with the cast and audience more than make up for it. It is also pleasing to see the roles of the King and Queen delivered with some gusto – Kathryn Howden as Queen Fiona was a joy and her infectious laughter had me giggling whenever she spoke.

With many other highlights in the show including a Dragon, a clever version of “Happy Birthday” by Ms Grogan (who takes great relish in her evil performance in her very first pantomime – I’m sure she’ll be back!), a great chorus who dance exceptionally well, lavish walkdown costumes and more songs than you can shake a stick at this pantomime is a jam packed evening of entertainment. With the weather not getting any better outside, get a warm rosy glow from a great family show, that even the adults will enjoy.

Listings

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

Signed Performances: Wed 14 Dec 1pm & Wed 21 Dec 7pm

Audio Described Performances: Wed 14 Dec 1pm & Wed 21 Dec 7pm

Captioned Performances: Thu 22 Dec & Wed 28 Dec 2pm 

Ticket prices: £7.20 - £24.75

Box Office: 0844 871 7648 (bkg fee)

Schools and group bookings: 0844 871 7602

www.atgtickets.com/glasgow  (bkg fee)

David Walliams’s odorous childrens novel is transformed into an entertaining family musical with a ‘scratch n sniff’ twist at the King’s Theatre this week.

Twelve year old Chloe is bullied at school and somewhat lonely.  Mr. Stink, a local well-mannered tramp, befriends her and accepts an invitation to live in her shed.  This is to the horror of Chloe’s snobbish mother who is campaigning to become a local MP!  A local newspaper gets hold of the story and soon Chloe’s mother is thrust into the limelight as the press mistakenly assume this as a move to eradicate homelessness on the part of the prospective parliamentary candidate.  But, as in all children’s stories, the truth has a habit of coming out when the grown-ups least expect it!

The show is heralded as a World Premier of the “scratch n sniff” musical.  The format is certainly a success for the intended audience of young families … although I’m sure it does borrow something from Opera North’s production of “Love for Three Oranges” in the early nineties (I’m sure none of the intended audience of 6 – 12 year olds had the pleasure of attending that production).  The six supplied smells in the Quentin Blake illustrated booklet were certainly revolting but were a little similar to each other.  This was the only disappointment, though, as other production qualities were very well executed.  Matt Brind’s original music, in particular, was excellent (as you would expect from the man behind Legally Blonde).

Performances from Peter Edbrook (as Mr Stink) and Lotte Gilmore (Chloe) were charming and engaging in equal measure.  The supporting cast who played several roles and also presented the puppet characters (including Mr. Stink’s dog, Duchess and Chloe’s perfect sister, Annabelle) were animated and entertaining throughout.

An enjoyable family treat!.

Listings Info:

Mr. Stink

Tuesday 12 – Saturday 16^th July

Tickets: £18

Box Office 08448 717 648 (Bkg fee)

www.ambassadortickets.com/glasgow (bkg fee)

Marti Pellow deserves to be ‘sold out’ out as he ‘pops in’ to the Kings Theatre to present Jekyll and Hyde this week.

Robert Louis Stevenson’s classic story remains at the core of this contemporary musical.  The show is a predictably dark tale; very much in the mould of Sweeney Todd.  Brilliant Dr. Henry Jekyll researches the source of man’s dual nature – good versus evil.  He hopes to rid the world of the curse of evil.  But, when seeking backing for his research, his appeal is cruelly rejected by his hospital Board of Governors leaving him no option but to continue his research by experimenting upon himself.  However, his experiments only serve to unlock the evil side of his own personality which manifests itself in the form of Mr. Hyde.  Jekyll frantically researches an antidote for his potion against the backdrop of a vicious string of murders across London while his alter ego becomes more dominant over the body that they share.

Bill Kenwright’s new production was a vast improvement on the 2004 tour with a partial re-write, a new set put cleverly to use by director Martin Connor, fresh choreography from Bill Deamer, much reduced reliance on click track and a simpler, more effective, transformation between Jekyll and Hyde.  Marti Pellow’s accent didn’t move further south than Kelvinside, but this was not offensive (even to my Glaswegian ear).  More importantly, Mr. Pellow’s character had sincerity and duality as he leaned heavily on his outstanding past experience in The Witches of Eastwick to deliver a believable and, sometimes, frightening performance.

The beautiful score, featuring the songs “This Is The Moment”, “Someone Like You” and “In His Eyes” was lovingly and powerfully rendered by Marti Pellow and co-stars Sabrina Carter (Lucy) and Sarah Earnshaw (Emma).  Ms Carter’s star shone particularly brightly as her character’s tough outer layers were gradually peeled back to reveal a genuine vulnerability.  The talented support cast even managed to weave a little comedy into this sombre tale to deliver a rounded show with appeal to a wide audience.

Listings Info:

Jekyll & Hyde

Mon 13 – Sat 18 June

Mon – Sat eves 7.30pm

Wed & Sat mat 2.30pm

Tickets: £14 - £33

Box Office 08448 717 648 (Bkg fee)

www.ambassadortickets.com/glasgow (bkg fee)

Monty Python brings the circus to town this week as the Broadway and West-End smash hit musical, SPAMalot, pitches its tent in Glasgow’s King’s Theatre.

“We dine well here in Camelot, we eat ham and jam and Spam a lot.”, sing the Knights of the Round Table in a jolly refrain that was the inspiration for the show’s title and a good indicator for the tone of this irreverent comedy musical.  Lovingly ripped off from Monty Python’s 1975 movie, “The Holy Grail”, the show “farts in the general direction” of the Arthurian legend.  Python fans will be delighted to learn that many of the original characters and songs from the movie are faithfully recreated while new elements and characters have been added with hilarious consequences.  Rest assured that alongside King Arthur and his faithful knights, we are entertained by The Black Knight (“It’s only a flesh wound”), the French Taunter (“Your mother was a hamster …”), The King of Swamp Castle (“One day lad, all this will be yours …”) and the Knights who say “Ni”!  But King Arthur and the world of musicals are mocked in equal measure with references to Lloyd Webber, ‘star’ cast headliners, camp dance routines and blatant overacting throughout.

Marcus Brigstocke made his musical theatre debut with some style as King Arthur.  Ironically, the stand-up comic was very much the straight man of this piece but he held his character well among the swathe of outrageous caricatures onstage.  Hayley Tamaddon (as The Lady of the Lake) seems to have limitless talent – she sings, she dances, she’s a character actress, she has great comic timing, she skates* (*not in this production).  Is there nothing she can’t do?  As in the Monty Python movies, the principal players play several roles throughout the show.  Graham MacDuff (Sir Lancelot / The French Taunter/Knight of Ni/Tim the Enchanter) and David Langham (The Historian/Prince Herbert/Not Dead Fred/Lead Minstrel/The French Taunter's Best Friend), in particular, displayed diverse character talents.

If there could be any criticism of the show it would be that the music seemed a little thin at times.  The movie’s grand soundtrack featuring French horn and timpani was replaced by somewhat weedy electronics.  Also, chorus singing was a little exposed.  A few more members of the cast wouldn’t have gone amiss … although, even that was lampooned when a few members of “stage crew” joined the cast for one scene!  These are but mere ‘flesh wounds’ in an otherwise robustly entertaining production.

Now, go away or I will taunt you a second time!

SPAMalot
King’s Theatre
Mon 14 – Sat 19 May
Mon – Sat evenings 7.30pm
Wed and Sat matinee 2.30pm

Sensational and sexy are words that don’t go far enough to describe the spectacular that is Chicago. This truly is an un-missable production.

It tells the story of two murderesses- Roxie Hart and Velma Kelly- who meet in jail, and compete for the attention of their lawyer Billy Flynn, who has the power to make them ‘stars’. They, like all the other women in there, have committed crimes of passion; which adds to their sexiness, and fuels the public’s interest in them.

Emma Barton; best known as the diminutive Honey from Eastenders, wows crowds as Roxie Hart. Her voice is phenomenal, and she captures every note of Kander & Ebb’s numbers perfectly. Strutting the stage in Hart’s sassy manner, she looks as if she was born to dance Fosse. The choreography is slick and spellbinding, and the audience are transfixed, and transported into 1920s America, from the moment the curtain rises.

Another treat is to see Gary Wilmot in the role of lawyer Billy Flynn. He steps into the shoes of this flash, arrogant; but likeable lawyer with such great ease that it’s hard to imagine anyone else ever playing this manipulative showman. At the other end of the spectrum is the shy and retiring Amos; played beautifully by Adam Stafford. Whilst Amos relates himself to cellophane; Stafford is anything but un-noticeable.

The stylish and sleek set; combined with the dark and sexy lighting really set a sizzling mood. It’s all about showbusiness; but lights casting bars across the stage are there to constantly remind us we are on death-row. It’s a hot, emotion-rousing and comedic production. Let it razzle-dazzle you!

LISTINGS

Chicago

Mon 5 Oct – Sat 10 Oct

Wed, Thurs 19.30; Fri 17.00 and 20.30; Sat 14.30 and 19.30

Tickets: £19 - £35

Box Office 0844 871 7648 (Bkg fee)

www.ambassadortickets.com/glasgow (Bkg fee)

FAME - The Musical makes a welcome return to Glasgow’s King’s Theatre.  Could it live up to its moniker and “live forever”?