Dreamboats and Petticoats Milton Keynes Theatre
By Louise WinterDreamboats and Petticoats at Milton Keynes Theatre
Reviewed 15th February
2010
Directed by Bob Tomson; Musical Supervision by Keith Strachan; Choreography by Carole Todd; Designed by Sean Cavanagh; Lighting Designed by Mark Howett; Sound Designed by Ben Harrison; Executive Producer Brian Berg.
A hardworking cast who are determined to please the audience are the central strength of this (and indeed any) production. Here, this very young cast are energetic, charming, bright and generally convincing. They truly look as if they are having the time of their lives.
The story by Laurence Marks and Maurice Gran strangely came after the hit compilation album of the same title. Cashing in on this has resulted in a fairly thin story, one of teenage crushes, songwriting competitions, and growing up. It is mostly set in St Mungo’s youth club with an excursion to Southend thrown in.
This production really is an excuse to cram in as many hits from the early sixties as possible and there can’t ever be more than three or four minutes of dialogue before another of the 43(!) songs is squeezed in. Clearly this formula is working though as there is a London show running as the same time as this tour so obviously a demand.
It is really a production for those who were young during this era and clearly an enjoyable trip down memory lane for them. The majority of the audience greeted the evening with plenty of enthusiasm, swaying and singing away to all the musical numbers. That is not to say it is not enjoyable for anyone who does not have direct experience of this era as most of the music is familiar and includes enjoyable hits such as ‘Let’s dance’, ‘The Wanderer’, ‘Runaround Sue’, ‘Bobby’s girl’, ‘Dream Lover’ and the list goes on and on.
Performances are strong, particularly Josh Capper as Bobby, who has only been out of theatre school for three years.
Awarded most promising graduate in 2006 he was definitely one of the stand out performances of the evening. He looks the part, has a great voice for the most part, although the Roy Orbison number did cause a couple of problems, and comedic talent. He is very endearing as an dreamy awkward teenager.
Matching Josh in the comedy stakes is Wayne Smith as Ray who looks like a young Danny Kay and is as funny in places!
Again, great voice, convincing and a charming way about him. Bound to see more of these two in the future.
Daniella Bowen (Laura) and Carolynne Good (Sue, above) are both bright and chirpy as knowing, teenage girls with more experience than the boys. Strongest female performance is Bethany Compson-Bradford as the sweet fifteen year old with the songwriting talent and beautiful voice. She is rather wonderful.
Weakest link is Jonathan Bremner as Norman who whilst a pretty boy – he certainly raised a few eyebrows – and whilst having a pleasant enough voice does not bring a convincing performance to the stage. According to the publicity material he is ‘widely recognised from taking part on ITV’s X Factor where he reached the final seven in Sharon Osbourne’s group.’ Really? He’s not. Four years ago is a very long time ago in this day of immediate (and short lived) fame. He seems to have done a lot of celebrity party/charity gigs and is perhaps a decent enough entertainer. He is an adequate singer but not an actor and it shows amongst this cast.
Anthony Clegg (Phil/Older Bobby) and Simon Nock (Frank/Slugger/Compere) are the very experienced and more mature cast members and their confidence and ease on stage shines through.
All members of the cast deserve a mention really, particularly as the majority of them play the music live on stage throughout. That certainly says something about todays wealth of talent.
An enjoyable singalong evening of a trawl through the hits of the sixties with the tiniest thread of a story to hold it all together is the sum of this productions parts.
Dreamboats and Petticoats plays MK Theatre until Saturday 20th Feb
0844 871 7652(bkg fee). www.ambassadortickets.com/miltonkeynes
then continuing on an extensive tour
22-27 Feb Opera House, Manchester
1-6 March, New Victoria Theatre, Woking
8-13 March, Liverpool Empire Theatre, Liverpool
15-20 March, Grand Theatre, Leeds
For full tour dates visit www.kenwright.com
Falstaff
By Louise Winter
Falstaff
Reviewed on Wednesday 25th November 2009
Richard Jones’ staging of Verdi's comic opera is a lot less
controversial than his 2008 production of Macbeth. However,
there were some murmurings in the audience in reaction to
some of the scenery, particularly when the garden at Ford’s
house was revealed with its rows of cabbages, skipping
brownies, young Etonian rowers moving backwards and forwards
and plenty of men in uniform. The men get the best costumes;
poor Alice, Meg and Nannetta spend much of their time in really
dull attire. Even in the last scene Meg and Alice are
‘disguised’ under tent-like cloaks made from curtain
material. Good for a giggle were the cats that came
dangerously close to scene stealing a number of times. So, some
imaginative and effective design by Ultz but this did not
transpire in the last scene which was too predictable. This was
a let down compared to the imaginative and tight staging of the
previous scenes. Too many people crowded onto the stage
wandering randomly about in seemingly undirected chaos. This
climax, where Falstaff is taunted, seemed neither
frightening nor funny but merely a bit bewildering.
So, to the performances. Jonathan Veira's Falstaff, who
according to the programme has played this part over 80
times in 4 or 5 different versions played this purely for
laughs and although an immensely powerful performance and
highly amusing there was a lack of any subtlety or
sensitivity in this particular performance. It was at full
throttle throughout and we were in the realm of caricature by
the end. I wonder if Viera over-eggs the pudding like this
every time or was pushed by revival director Sarah Fahie to
drive every pun, play on words, and innuendo home as hard as
this. The Glyndebourne audience is an intelligent one; they
don't need everything spelled out for them. Veira is a
brilliant singer though and where he was superb was in his
vocal performance, so clearly at ease with the music and words
that you did feel totally confident of him as the pivotal point
for almost all the musical interaction.
The other males were good, particularly Bardolph (Harry Nichol)
and Pistol, (Sion Goronwy) who were such a bizarre misfit
couple physically that much of the comedy was in the visual
interplay between them. Ford (Guido Loconsolo) was very
understated and played the respectable husband quietly and
convincingly.
All the women were superb, Meg (Rachel Lloyd), Alice (Jessica Muirhead), Nannetta (Elena Tsallagova), who incidentally has the sweetest crystal clear voice, and Mistress Quickly (Kathleen Wilkinson) balanced each other well and portrayed the relationships between them believably. The performances of all these characters were discrete and sophisticated and that was perhaps why Viera seemed to be otherwise.
Thomas Blunt’s direction of the orchestra was expert and gave the audience time in each scene to enjoy the layers of the music and experience the full richness of the score.
This was a very funny evening but the opera as a whole suffered from unevenness of staging and imbalance between the performance of the main characters.
Falstaff plays Milton Keynes Theatre Saturday 28th November (0870 060 6652 Booking Fee) and the Plymouth, Theatre Royal Wednesday 2nd, Saturday 5th December (01752 267222)
Cosi Fan Tutte - Milton Keynes Theatre
By Louise Winter
Cosi Fan Tutte
Reviewed Tuesday 24th
November 2009
Nicholas Hytner's production of
Così Fan Tutte has been reworked since its 2006 debut and this
revivial is most definitely a Glyndebourne crowd pleaser. The
loyal audience at Milton Keynes signalled their approval long and
loud at the end of last night's performance.
This opera about deception,
self-deception, morals and fidelity, labelled 'immoral' by
Beethoven and considered misogynistic by others is now considered
to be one of Mozart's finest works. Although the title translates
as 'Typical women' neither sex comes out of this narrative
particularly well!
This production has received very favourable reviews elsewhere
and Hytner’s revivial is an elegant one aided by Ashley Dean’s
sophisticated staging. Outstanding as ever is the orchestra, this
time under Patrick Lange’s perfect control; this is the
highlight.
The strongest performances come
from Riccardo Novaro (Alfonso) and Simona Mihai (Despina). These
two, and their dark plottings, pin the production together.
Novaro plays Alfonso with an air of menace and does not overplay
the humour; he clearly enjoys causing disharmony and distress.
Nevertheless, he is charismatic and that coupled with his rich
and powerful voice makes Alfonso an attractive
character.
Mihai,
as Despina, has a pure, fresh quality to her voice, and is a
perfect match for her co-conspirator. She is superb in portraying
the cynical, no nonsense side of her character and contrasts well
with the two sisters, played by Gillian Ramm (Fiodiligi) and
Lucia Cirillo (Dorabella).
These two are also excellent, both in voice and as performers,
and play their parts with a mix of naivete and gentle sexiness at
the beginning. Their character development as the story
progresses is well managed and they are faultless in their
vocals.Cirillo expresses herself very well in the comedic role,
with Ramm taking the role of the seemingly more 'sensible'
sister. They both are superb in their scenes with their lovers,
Andrew Tortise (Ferrando) and Jacques Imbralio
(Guglielmo).
First
to Tortise who is not as strong as the others on stage. His voice
does not seem quite a match and his acting is so awkward at times
that his character is not consistently believeable, upsetting the
balance and force of the drama on stage. I found my eye drawn to
him in the scenes with Guglielmo and their lovers but not for the
right reasons. As he is not convincing as the lovestruck
Ferrando, the scene in which his lover’s infidielity is exposed –
a scene which should be painful to watch as his anguish, despair
and anguish is revealed – is rather weak when it should be a
pivotal point.
Imbralio, on the other hand, is utterly convincing throughout.
Beautiful in voice, perfect in his performance, convicing as both
a bit of a cad
and a persuasive lover.
Overall this a solid and strong revival; superb orchestra as
ever, elegant staging, and overall perfomances which are
convincing and engaging.
Playing MK Theatre Friday 27th Nov then Plymouth, THeatre Royal
on Tuesday 1st and Friday 4th Dec
Reviewed by Louise Winter on behalf of Catherine Brian
Lazy Town Live - The Pirate Adventure
By Louise Winter
Lazy Town Live – The Pirate Adventure
reviewed Tuesday 1st September
2009
Yo, Ho Fiddle Dee Dee
Being a pirate is alright with me
Do what you want ‘cos a pirate is free
You are a pirate!
I have been singing this all day – much to the bewilderment of my colleagues at work! I took my two year old nephew, six year old niece and 42 year old (going on eight) brother to this show last night. We had a riot, as did all the other kids in the audience!
This show has become hugely popular in this country over the last year. Originating in Iceland, superhero Sportacus encourages children to be active and energetic whilst Robbie Rotten, the baddie, tries to rid Lazy Town of Sportacus so everyone can be - you guessed it – lazy!
The cast work tremendously hard and are highly energetic in their efforts to get everyone up and involved. Some of the adults who took younger members of the audience could have made more of an effort to get into the spirit of the show. After all, the whole premise for this cartoon is on healthy living and activity. Children follow the examples set to them so how can they get up, dance, jump about, shout and let themselves go if their parents, aunts, nannies etc don’t enter into the spirit of the show?
My brother and I were up on our feet, doing all the actions and generally joining in but, as adults, we were in the minority. It was a shame for the cast that half the audience remained firmly rooted to their seats and showed a distinct air of disdain for all the antics on stage.
In the true spirit of the pantomime tradition
there are some funny moments for the adults. Sportacus and Robbie
Rotten, played by Julian Essex-Spurrier
and Matthew Medhurst
respectively, provide most of these. Sportacus in his
supertight lycra, superhero’s costume definitely cheered up some
of the older female members of the audience! His one handed
cartwheels and gymnastics are great fun and he had numerous
little boy fans in the audience dressed as mini Sportaci -
if that is indeed the
plural!
Kimberly Pena as Stephanie is perhaps the driving force of the
production, leading most of the singing and dancing, which
the cast break into every couple of minutes. Played
with that over enthusiastic American accent that seems to
accompany so much children’s entertainment nowadays there is a
slightly annoying aspect to her (speaking as an adult) but is
tireless at exuding fun, happiness and general goodness to
the world around her and as with Sportacus, Stephanie had fans in
the audience all sporting candy pink wigs - and that was just the
dads!
This is a high energy, noisy, fun and very
entertaining production. It is short - 90 minutes with an
interval. If you are looking for something to
entertain young ones up (or even yourself) this autumn then
this is the ticket.
Lazy Town Live! – The Pirate Adventure plays Milton Keynes
Theatre until Saturday 5th September 2009. Then on
tour
September
10 – 13 The Orchard Theatre, Dartford
16 –20 Swan Theatre, High Wycombe
October
1 – 4 Hackney Empire, London
8-11 New Theatre, Hull
22 – 25 Everyman Theatre, Cheltenham
28 –31 Theatre Royal, Norwich
November
5 – 8 Corn Exchange, Cambridge
12 –15 Grand Theatre, Swansea
19 – 22 Grand Theatre, Blackpool
26-29 Pavilions, Plymouth
Milton Keynes Theatre Box Office on 0844 871
7652 (bkg fee) or
www.ambassadortickets.com/miltonkeynes
(bkg fee)
West Side Story
By Louise Winter
West Side Story
reviewed Tuesday 14th July 2009
As soon as the first bars of the
music are heard we are transported to New York’s Upper West Side.
This musical, based on Shakespeare’s Romeo and Juliet, explores
the rivalry between two teenage gangs; one white, the other
Puerto Rican. It is chillingly apt, dealing as it does with the
social issues of gang culture and racism. Tony, a reformed member
of the Jets falls in love with Maria, the sister of Bernardo, the
leader of the rival gang the Sharks. The feud between the gangs
escalates and violence and hatred eventually overshadow love and
devotion. There is no happy ending
here.
Originally
created in the 50’s by the combined genius of Leonard Bernstein’s
musical score, Stephen Sondheim’s magnificent storytelling
lyrics, and Jerome Robbins’s groundbreaking choreography this
musical is regarded as the pinnacle of its
genre.
Joey McKneely,
director and choreographer of this production has been handed one
of the best known and loved musicals of all time. No one would
thank him if he fiddled around with it too much. And he doesn’t.
What he does do is keep the energy of the piece constant
throughout so that the story is dynamically driven forward. This
is aided greatly by the Paul Gallis’s set, which glides in and
out of position without interrupting the flow and energy of the
overall production. Add to this the huge backdrop photosof 50's
New York, Peter Halbsgut’s atmospheric lighting, and costumes
only very slightly adapted from the originals by
Renate
Schmitzer, and all the elements are all in place for the
performers.
It has to said that most of the
performances are strong.
Most notable though, are the two female leads, Sofia Escobar, as
Maria, recently awarded Best Actress in a Musical, has the
physical look of a fragile young girl and a voice that can be
sweet and light but amazingly strong and powerful at the same
time. She was note perfect and her performance of ‘Tonight’,
moved many to tears.
Equally strong is Jayde Westaby,
who plays the sexy, funny Anita with serious attitude and
confidence. She manages the transition to grief-stricken lover
after Bernardo’s death and subsequent rape victim with great
proficiency. The tragic ending of the story is as much about her
as it is about Maria and Tony.
The male leads are convincing
generally. Dan Burton as cocky, aggressive Bernardo, matches the
strong performance of his counterpoint Westaby, and Ed Post
standing in as Riff in this evening’s show was excellent.
However, something about Daniel Koek as Riff just did not ring
true. Despite having a superb voice and clearly being an
experienced and accomplished performer he just did not seem
strong enough to be the linchpin of the
show.
Having said that, the part of
Tony is a difficult one. He is the good boy who has escaped the
gang, has a job, a sense of responsibility and the foresight to
see where continuing violence will take his gang member friends.
All this perhaps calls for a more subtle performance than the
other male leads and this is possibly the
issue.
The dance scenes continue to be fresh, exciting, sharp and unchanged from the original and the unforgettable songs, Something’s Coming, Maria, I Feel Pretty, Somewhere, 'Gee, Officer Krupke' and 'America' among them are so well known that some of the audience couldn't help but quietly sing along!
This audience clearly loved this production – I have never heard such loud and prolonged clapping in Milton Keynes – and the performers on stage seemed blown away by the audience response. An exhilarating, exciting, passionate evening!
Winner - Best Musical
M.E.N. Awards 2008
Winner - Best Musical Revival
Winner - Best Actress in a Musical
Whatsonstage Awards 2008
2 Olivier Award Nominations
2009
Best Musical Revival
Best Actress in a Musical
West Side Story plays Milton Keynes Theatre until Saturday 18 July 2009
Milton Keynes Theatre Box Office on 0844 871 7652 (bkg fee) or www.ambassadortickets.com/miltonkeynes (bkg fee)
21st-25th
July 2009, The Lowry, Salford. Box office
0870
787 5780 (bkg fee) or book online www.thelowry.com (bkg
fee)
The Winslow Boy
By Louise WinterReviewed on Monday 6th July 2009 at Milton Keynes Theatre
Stating the bare bones of the plot of the Winslow Boy it might appear rather dry. Based on a true incident, a thirteen year old naval cadet, Ronnie Winslow, is expelled from college for stealing a five-shilling postal order. His father, Arthur Winslow, convinced of his innocence, engages the services of the distinguished lawyer Sir Robert Morton, and enters into a protracted and costly case that ulitmately affects everyone connected with it.
In the real life story, which created an enormous amount of public interest, the case was pursued for purely political reasons but Rattigan developed this fundamental point in his writing so that both Arthur Winslow and Sir Robert Morton are fighting passionately and personally to 'Let right be done', a phrase which is repeated several times throughout the play.
Given the subject matter there are a great number of laughs, even in the darkest moments.
The superb Timothy West as Arthur Winslow has most of the best lines. He is full of scathing wit and sharp retorts that belie his quiet strength and determination to prove his son's innocence. His relationship with his daughter Catherine, a suffragette, who drives him on in the pursuit of the case and is his strongest ally at home, is an interesting bond. Claire Cox plays this strong and practical, yet young and feminine woman brilliantly.
Other support comes in the form of the superb Diane Fletcher as protective mother Grace Winslow, Thomas Howes, as the rather hapless yet utterly charming eldest boy, Dickie Winslow, Sarah Flind as the rather unruly housekeeper, Violet, John Sackville, as Catherine's ultimately unchivalrous fiance, and Roger May as Desmond Curry, the once brilliant cricketer who is deeply in love with Catherine.
It is Adrian Lukis though, in the showcase role of Sir Robert Morton, who is outstanding, striking just the right balance between arrogance and superciliousness and ethical conscience and determination. The cross examination scene between him and Ronne Winslow, played convincingly by Hugh Wyld, is positively frightening. Yet at the very end we see Morton as a fragile, vulnerable man. A stunning perfomance.
Director Stephen Unwin has created a top class production. Simon Higlett's set which remains the same throughout save for clever, effective lighting changes to create different times and atmospheres is elegant.
The triumph though is Rattigan's dialogue, intelligent, sharp, witty and beautifully crafted. This, coupled with the classy and finely detailed performances from all on stage make this a must see production.
The Winslow Boy is at Milton Keynes Theatre until 11th July.
Milton Keynes Theatre Box Office: 0844 871 7652 (bkg fee) www.ambassadortickets.com/miltonkeynes.and then on tour from 13th to 18th July Churchill Theatre, Bromley. 20th to 25th July Theatre Royal, Brighton.
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Seven Brides for Seven Brothers
By Louise Winter
Seven Brides for Seven
Brothers
Reviewed by Louise Winter on Tuesday 16th June 2009 at Milton Keynes Theatre
Every obvious cliché can be used to describe this musical – thigh slapping, foot tapping, yeehah shouting, hand clapping fun! It is a lovely story and really quite sad at times.
The Pontipee brothers live a typical bachelor
life out in the wilds of Oregon.
Big
brother, Adam, well played by Steve Houghton, drives into town to
find a wife to ‘keep house’ for him and the other boys.
Luckily
for him, he finds Milly, who agrees to marry him and return home
with him that evening. Milly, played perfectly by Susan McFadden,
is a sweet but spirited gal, who imagines she will be living in a
‘house for two’. She’s less than happy when she discovers there
are six rough hillbillies at home.
Milly sets about transforming them into young men with manners
and etiquette. This is where the laughs and fun of the story are
mostly found and ‘Goin’ Courtin’ with Milly and the brothers was
very funny. I did think some of the brothers overacted in this
scene – they are country hillbillies, not a cross between
Neanderthal man and a primate just dropped out of a tree.
However, the contrast between these ‘savages’ and the ‘new’
species of male that Milly manages to conjure up is made very
clear by such a strong
interpretation.
There are brilliantly memorable songs, ‘Bless your Beautiful
Hide’, ‘Wonderful, Wonderful Day’, ‘Spring, Spring Spring’, ‘
Sobbin’ Women’ and many more.
Most outstanding are the fantastically energetic and inventively
choreographed dance routines. Chris Hocking is the director and
chorepgrapher and the stage of Milton Keynes Theatre is
filled at times what with 26 people hurling themselves
around. It really is
spectacular.
Every single member of the cast is superb; they all give it 100% throughout. To mention all of them is impossible here.
This is a brilliant production and a great evening out, so if you can get tickets: GO!
Seven Brides for Seven Brothers is at Milton Keynes Theatre until 20th June.
Milton Keynes
Theatre Box Office: 0844 871 7652 (bkg fee)
www.ambassadortickets.com/miltonkeynes.
For details of further tour dates go to UK
Productions website
http://www.ukproductions.co.uk/seven-brides-08/introduction.asp.
Dates are currently showing on the UK Productions website
are:
|
15 |
Milton Keynes Theatre |
| 22 | Swansea Grand Theatre |
| 29 | Leeds Grand Theatre |
| July | |
| 6 | High Wycombe Swan Theatre |
| 20 | Sheffield Lyceum |
Reviewed by Louise Winter on behalf of Catherine Brian
Scooby-Doo And The Pirate Ghost – Live On Stage!
By Louise Winter
Scooby-Doo And The Pirate Ghost – Live On
Stage!
Reviewed at Milton Keynes Theatre 27th May
2009
This is a great fun production for children to at any time of the year. My co-reviewer (5 year old niece!) thought it was super and thoroughly enjoyed herself.
This story stays true to the cartoon Scooby-Doo that I remember as a younger person (being over 40 now!) and is effectively staged with many of the original poses and action of those first cartoons.
The story, written and directed by Jim Millan, is set on a tropical island where pirates are keeping tourists away. Scooby and his friends, Fred, Daphne, Velma, and of course Shaggy, collectively known as Mystery Inc. fly in for a holiday and, true to form, get involved to solve the mystery. All the performers are great but Shaggy, played by Mathhew Bloxham is like watching the cartoon character brought to life. He is super. Scooby-Doo, played by Jamie Brown, is hilarious, mostly because of the costume and the outfits he occasionally dons. The pirates are not too scary, more silly and funny really, and the children really engaged with them screaming ‘Pirate! Pirate!’ 'He's behind you!' and such like, when they appeared.
There is plenty of dancing, singing and audience participation; much like a pantomime, as the friends uncover who the characters are behind the pirates. There were lots of children in the audience so be warned it is a noisy outing. The joy for the adults is watching the enjoyment of the children but there are also elements of humour, as with good old-fashioned pantomime, that are aimed at the adults.
I wouldn’t say this is a hi-tech, super special-effect production - simple sets and costumes and at times there is perhaps a little too much prolonged dialogue (from the characters, not the young audience members!), which seemed to be occasionally slightly boring for the younger members of the audience. However, the action soon got going again and brought the focus of the children back.
A good laugh and well worth booking for a half term treat.
Scooby-Doo and the Pirate Ghost plays MK theatre until Sunday 31st May 2009
Milton Keynes Theatre 0844 871 7652 (bkg
fee)
www.ambassadortickets.com/miltonkeynes
(bkgfee)
Reviewed by Louise Winter on behalf of Catherine
Brian.
Singin' in the Rain
By Louise Winter
Singin' in the
Rain
Milton Keynes Theatre (until
23rd May 2009)
This
was a very apt production to see in the light of the weather this
week and, unlike what was happening outside, had a very uplifting
effect on the mood of the audience!
Based on the 1952 film this is a very amusing interpretation of
the story of the transition from silent movies to the
‘talkies’.
I did feel that the first half was a bit slow to get going but
once we’d had ‘Make ‘em laugh’ we were up and running. This was
followed by
‘Moses Supposes’, ‘Good Morning’ and …yes…‘Singin’ In The Rain’,
with real rain! All were brilliant, bright, energetic and great
fun.
All the leads are strong, particularly Tim Flavin, an Olivier
Award winning American actor, as Don Lockwood. He plays the part
wonderfully and is charismatic, charming, (and very dishy!). He
has a gorgeous voice and is a lovely dancer. He’s not Gene Kelly,
but who is? He is, however, an all round talent and just perfect
in this role.
Lead female Jessica Punch as Kathy Selden compliments Lockwood
and matches him in vocal quality and dance ability. She has a
wholesomeness and gentleness about her that clearly made the
audience warm to her immediately.
Supporting actors Graeme Henderson as Cosmo Brown, and Amy
Griffiths as Lina Lamont deliver strong performances. The Cosmo
Brown character provides much of the fun and comic moments and
Henderson manages this effortlessly. Punch plays Lockwood’s
leading lady to the hilt as a vain and, in this portrayal, fairly
vindictive character. I found her screeching and screaming
grating at times and the speed at which she delivered some of her
lines meant that occasionally they were impossible to understand.
However, the audience clearly loved her and were in stitches
during her performance of ‘What’s wrong with me’.
The talented cast and superb chorus are fabulous, hugely
energetic and delightful throughout the show. The sets are superb
and the costumes gorgeous, giving the authentic feel of that
stylish and glamorous Hollywood period.
This is a production that stays true to the original story and is
better for it. A highly entertaining show and well worth a visit.
You could probably do your own version of the main number on your
way home!
Singin in the Rain plays Milton Keynes Theatre
until 23rd May 2009.
0844 871 7652. www.ambassadortickets.com/miltonkeynes(bkgfee)
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