Never Forget

The Tyne Theatre & Opera House

IT seems that the future of musical theatre is heading in the direction of the ‘juke-box’ musical. With a plethora of productions based on the back catalogue of groups such as ABBA, Queen and Boney M, it was a sure bet that one featuring the music of Take That would pop up.

‘Never Forget’ tells the story of five young men who enter a talent competition to form a Take That tribute band. Along the way, they discover that fame comes at a price but friendships last forever.

The ladies were out in full force, no doubt attracted as much by the physique of former Brookside and Hollyoaks star, Philip Olivier, as the hits penned by Gary Barlow. There was a huge scream upon his first appearance, followed by wolf-whistles and calls of ‘Get your kit off!’

The show isn’t exactly Ibsen or Chekhov – nor does it claim to be. It’s as camp as a row of pink tents and as cheesy as a Quatro Formaggi pizza, but the songs are fabulous and the choreography is breathtaking and the special effects are impressive, too.

‘Never Forget’ is an uplifting show that positively exudes the feel-good factor and makes for a great evening’s entertainment. Well worth a visit.

Steve Burbridge.

Runs until Saturday 6^th February 2010.

Have you heard the story of the Johnstone twins? If not, you have missed what has become a classic of British musical theatre and now is your chance to hear the tale! Willy Russell’s Blood Brothers is on tour - follow a trail of tears and snotty handkerchiefs all the way to the King’s Theatre, Glasgow until 13 February 2010.

Glasgow-born songstress, Vivienne Carlyle, stars as Mrs. Johnstone, a 1960s Liverpudlian mother of seven who is just about making ends meet, until her husband leaves and the twins arrive. Reluctantly she makes a deal with Mrs. Lyons (Tracy Spencer), her well-to-do employer, to give one of her twins away. And so, irresistible and tragic wheels are set in motion as the twins are destined to be born and then to die on the self same day.

The story is largely light hearted and entertaining despite the tear-streaked faces that have famously been leaving performances of this musical all over the world. It follows the growth of the boys from childhood to adulthood and the script is bursting with the gritty Liverpool humour that made the writer famous. The humour is also observational and sucks the audience into a real bond with the characters as we sympathise with their poverty and remember schoolboy fun that helped to lighten the mood in difficult times. The tragedy, when it falls, feels very personal. The musical score, in isolation, seems almost unremarkable but together with the on-stage drama it adds great depth to the contrasts of mood that are the bedrock of this musical’s success. The audience can even take a few tunes home with them “My Child”, “Easy Terms” and “Tell Me It’s Not True” being eminently hummable.

 

The production has changed very little over the years, but the talented cast add their personal nuances to the timeless story.  Vivienne Carlyle took the role of Mrs. Johnstone (previously played by such well known actresses as Stephanie Lawrence, Kiki Dee, Lyn Paul and four of the Nolan sisters) in her stride, never over dramatising, never over cooking the accent.  She took a nightmare narrative and made it real.  The combination of Sean Jones and Paul Davies as the twins, Mickey and Eddie, was the perfect mix.  I’ve had the pleasure of being entertained by Sean Jones in a previous tour and he is definitely my favourite Mickey.  His transformation from carefree seven-year-old to drug-dependant adult is heartbreaking in itself.  Chemistry with his on-stage sibling as well as his childhood sweetheart (Linda, played by Kelly-Anne Gower) was wonderful.  Finally, Robbie Scotcher’s menacing portrayal of the Narrator was the ideal balance of singing talent and threatening demeanour.

 

No other musical can take you through the entire spectrum of human emotion like this.  Book your ticket today.

Listings Info:

Blood Brothers
King’s Theatre, Glasgow
Tue 2 – Sat 13 Feb
Mon – Sat eves 7.30pm
Wed & Sat mats 2.30pm
Thu 4 Feb mat 2.30pm

Audio described performance 11 Feb 7.30pm
Signed performance 12 Mar 7.30pm

Tickets: £11.50 - £30
Box Office 0844 8717 648 (Bkg fee)
www.ambassadortickets.com/glasgow (bkg fee)

Vampires Rock

Darlington Civic Theatre    

Friday 29^th & Saturday 30^th January

The auditorium of Darlington Civic Theatre was packed to the rafters on Friday evening for the first of two sell-out performances of Steve Steinman’s cult classic, Vampires Rock.

Set in New York in the year 2030, the undead are among us and livelier than ever. A young girl named Pandora (Emily Clark) has skipped school to attend an audition to be the resident rock singer at the Live and Let Die Club. There she encounters Baron Von Rockula (Steinman), who instantly falls in love with her and becomes determined that she should become his new bride – shame he didn’t bother to consult his current Devil Queen (Toyah Willcox) who is none too impressed with the idea.

Ostensibly, Vampires Rock is The Rocky Horror Show for hot-blooded heterosexual hairy bikers and heavy metal heads. More vamp than camp, more gothy than frothy, the show uses its storyline – which is as translucent as a vampires skin in the midday sun – to string together some of the greatest rock anthems of all time. They’re all in there, from ‘Killer Queen’ to ‘Total Eclipse of the Heart’, ‘The Final Countdown’ to ‘Bat out of Hell.’

Steinman, Willcox and Clark all delivered stunning vocal performances and backed by a five-piece band, whose acoustics almost lifted the roof right off the grand old theatre, they really whipped the crowd up into a frenzy.

The shortcomings of the storyline are compensated by the energy and enthusiasm that the entire cast put into the show which, ultimately, is what makes Vampires Rock a great night out!

Steve Burbridge.

 

Glaswegians will find a second use for their Hallow'een costumes this week as Richard O' Brien's Rocky Horror Show makes a welcome return to the King's Theatre.

 

It’s been 2 years since Rocky Horror visited Glasgow and, at 36 years young, this show doesn’t seem to be showing any signs of age yet! The openly sexual nature of the characters and the storyline were so far ahead of their time when the show opened to a tiny London audience in 1973 that today they still appear fresh and relevant.  Director, Christopher Luscombe, and set designer, Janet Bird, added fresh elements to the show a few years back and this latest cast bring their own energy and life to the well loved characters.  The tradition of audience interaction with the cast ensures that no two performances are the same!!

 

David Bedella simply owns the role of Frank 'N' Furter.  He brought all of his experience of a US national tour (with Meatloaf, no less) to bear in his portrayal of musical theatre's most recognisable character.  He had an astonishing rapport with the audience.  Christopher Biggins embraced his role as the Narrator, comfortably staying one step ahead of an audience who were, at times, a little over excited!  “It was over, but what was over?” asked Mr. Biggins.  “Your career”, answered the audience.  “You must be mistaking me for Katie Price”, he retorted.  Mark Evans (Brad) and Haley Flaherty (Janet) were vocally accomplished and carried the story well.

 

This is a great production of an excellent show and Glasgow audiences have been given another chance to catch it.  Don’t miss out!

 

LISTINGS INFORMATION

Richard O'Brien's Rocky Horror Show

King's Theatre: Monday 23 - Saturday 28 November 2009

Mon  - Thu eves 7.30pm

Fri & Sat 5pm & 8.30pm

Tickets: £12.50 - £30.50

Box Office: 08448 717648 (bkg fee)

www.ambassadortickets.com/glasgow

“You’ll believe a car can fly” read the marketing spiel in advance of the Chitty Chitty Bang Bang tour.  The show certainly bursts onto the stage with a bang (bang), but can you believe the hype?

 

It is difficult for me to articulate just how good Chitty Chitty Bang Bang is … because my jaw dropped while watching the show and it hasn’t fully recovered!  WOW!  Even if the car had been a huge disappointment, the show would have proved itself as an excellent piece of musical theatre.  Every element screamed quality.  The large adult cast (30 strong), child cast (22), band (15) and several dogs (yes, dogs) filled the King’s stage with colour and energy and the auditorium with sound!  The somewhat abstract set added a childlike sense of drama and, when required, a real sense of motion!  Choreography was characteristic and entertaining in equal measure and flawlessly executed throughout.  The adapted script was bold in both cuts from and additions to the original 1968 movie screenplay and delivered rounded characters who were quickly lovable (or loathable) as required.

 

The score is packed with childhood favourites like Toot Sweets, The Ol’ Bamboo and Truly Scrumptious and the principal cast together with the large and talented ensemble delivered all to the highest standard and to the delight of the audience of young and old alike.

 

But the car … oh, the car is the star (as they say)!  And I repeat … WOW!  Take every wish that you may have dared to fanaticise upon for the delivery of your childhood dream Chitty and it is produced as a reality on stage.  There is a seemingly endless escalation of awsomeness as the car performs one miracle after another from its first spotlight reflecting reveal through a speeding countryside journey to a jaw dropping slow motion fall from a clifftop!  Chitty deservedly takes the final bow at the end of the show to the strains of the Superman movie theme!  One more time … WOW!

 

Don’t miss this fantastic show … its wonderful, its wizard, its keen!

 

Listings Info:

Chitty Chitty Bang Bang

Tue 20 Oct – Sat 14 Nov

Mon – Sat eves 7.30pm

Wed and Sat mats 2.30pm

Tickets: £20.50 - £39.50

Signed Performance Thu 29 Oct 7.30pm

Audio Described Performance Thu 12 Nov 7.30pm

Box Office 08448 717 648 (Bkg Fee)

www.ambassadortickets.com/glasgow (Bkg Fee)

Sheridan Smith, Duncan James, Jill Halfpenny, Peter Davison, Aoife Mulholland, Susan McFadden and Alex Gaumond lead the cast in Legally Blonde The Musical, which previews at the Savoy Theatre from 5 December 2009 and is currently booking until 23 May 2010.

More details
 

Rocky Horror’s Richard O’Brien presents a new musical based on the work of Pulp Fiction novelist, Carter Brown.

 

Breaking new ground in the world of musical theatre is a tough gig in the 21^st century.  We’ve already covered everything from Cats to Vietnam and cartoons to the Wild West in this popular theatre genre.   Lyricist Richard O’Brien, of Rocky Horror Show fame, has been inspired to put pen to paper with The Stripper to bring the world of the ‘dime novel’ to the musical stage, though, so that alone should be enough for us to sit up and take notice!

 

Lt. Al Wheeler (Jonathan Wrather) struggles to solve the mystery of the death of a wannabe actress.  He is drawn (not unwillingly) into the seedy world of strip joints and lonely hearts clubs as he tracks down the killer.  His key informant is night club stripper, Deadpan Delores (Emma-Jayne Appleyard) but he has no shortage of suspects including club boss, Miles Rovak (James Earl Adair) and dating agency owner Mr Arkwright (played by Richard O’Brien himself).

 

Despite moments of genius, the show didn’t quite hit the mark.  Establishing so many characters as suspects took a great deal of time in the first act.  Music was lively but the atmospheric 6 piece band often drowned out Mr. O’Brien’s lyrics where, I’m sure, lots of comedy value could have been found.  The first act finale, “A Man of Steel”, however, lifted the tempo and left us in no doubt about how firmly the tongue should be placed in cheek.  The improved pace continued into the second act with fabulous numbers like “Let’s Hear It For The Tough Guys”, “I Confess” (hilariously presented by Jack Edwards) and “Planning My Big Exit”.

 

The Pulp Fiction genre was well observed and the 1961 atmosphere was preserved by a catchy score, the practical set and sympathetic lighting (featuring particularly effective blackouts – a long lost art in my book!).  The show was reminiscent of “City of Angels” with its Los Angeles backdrop, gumshoe storyline and (sadly) its lack of broad appeal as the audience was a little thin.  Worthy of the ticket price but could do with a snappier first act.

 

LISTINGS

The Stripper

Tue 29 Sep – Sat 3 Oct

Tue – Sat eves 7.30pm

Wed & Sat mat 2.30pm

Tickets: £12 - £25.50

Box Office 08448 717 648 (Bkg fee)

www.ambassadortickets.com/glasgow (bkg fee)

 
Blood Brothers

The Sunderland Empire Theatre

There seems to be a common misconception – particularly amongst less accomplished theatre critics – that the future of ‘Blood Brothers’ depends, predominantly, upon the continued casting of a Nolan in the lead role of Mrs Johnstone. This, in my opinion, is completely wrong.

Having seen three of the sisters (Bernie, Linda and Maureen) play the part, I am the first to emphatically acknowledge and applaud their significant contribution to the success of the show over the last twelve years. However, I do not consider it necessary or fair to be ‘wary’ or ‘concerned’ if one of the aforementioned siblings does not occupy the position of leading lady in Willy Russell’s modern masterpiece.

After all, the list of actresses who have donned the care-worn smile and crossover pinny to portray the Liverpudlian single mother ‘with seven hungry mouths to feed’ reads like a ‘who’s who’ of popular music. They include Barbara Dickson, Kiki Dee, Petula Clark, Carole King, Helen Reddy, Clodagh Rodgers, Marti Webb and the current incumbent, Lyn Paul.

Having starred in both the West End and several touring productions of ‘Blood Brothers’, Lyn was hailed, in December 2008, as ‘The Undisputed Mrs Johnstone of All Time’ by fans of the show on the Blood Brothers Online website. She is also rumoured to be producer Bill Kenwright’s  favourite Mrs Johnstone, too.

No pressure there to deliver the goods then, Lyn!

Yet, from the moment she stepped out onto the stage, I felt certain that Miss Paul’s performance would live up to - and perhaps even exceed – my personal expectations.

She looks just right and is vocally impressive, too. Her voice is powerful without being harsh and it is strong enough to travel throughout the auditorium, raising hairs on the backs of necks as it goes. What differentiates Lyn Paul’s performance from most of her peers is her decision to play Mrs Johnstone as a much softer, more sensitive woman. This adds another dimension to the character and effectively stamps Paul’s own personal trademark on the role.

It seems futile, to me, to outline the plot of ‘Blood Brothers’ in this review. Suffice to say that if you don’t know anything about the show that is affectionately dubbed ‘Scouse: The Musical’ then the past quarter of a century has completely passed you by. Instead, it seems more appropriate to focus on the performances and the production.

Whilst I was greatly impressed by Lyn Paul’s depiction of Mrs Johnstone, I am not sure that I’d rate her as my all-time favourite. I’ve seen the role performed by Siobhan McCarthy, Helen Hobson, Marti Webb and the three members of the Nolan clan mentioned earlier. I also have cast recordings of Barbara Dickson, Petula Clark and Stephanie Lawrence.

The Liverpudlian accent is notoriously difficult to mimic convincingly and if a performer is unable to master it perfectly, then it is prudent to underplay it rather than force it as Marti Webb did during her brief stint as Mrs J.  Lyn Paul chooses to err on the side of caution and only gives the merest hint of a Scouse twang.

Where Miss Paul really shines is in her portrayal of a torn mother. The scene in which she inadvertently reacquaints herself with the twin son that she gave away as an infant eight years earlier is heart-rending and played perfectly.

Sean Jones and Simon Willmont were billed as the twins, Mickey and Eddie, who are separated at birth and grow up on opposite sides of the social-class spectrum. However, an announcement made prior to the performance informed the audience that the role of Mickey would be played by the understudy, David Cooper.

As usual, Willmont was outstanding in his portrayal of ‘posh’ Edward. Unfortunately, though, Cooper – despite his seemingly obvious attempt to make the most of his opportunity – fell short as scruffy Mickey, and this affected the portrayal of the relationship between the two brothers.

Robbie Scotcher – one of the best narrators that I have ever seen – gave his usual polished performance. His understated portrayal of this sinister spectre from the shadows combined with the haunting beauty of his singing voice creates a lasting impression for all the right reasons.

Paula Tappenden, as the neurotic and paranoid Mrs Lyons, seems to deliver her lines through a mouthful of marbles, whilst Tim Churchill, as Mr Lyons, mutters and mumbles throughout his performance. You’d think that the middle-class couple, of all people, would have had elocution lessons in their youth. Certainly, though, something needs to be done about diction in both cases.

There is no disputing the status of ‘Blood Brothers’ as a contemporary classic. It has captivated audiences all over the world and won a plethora of awards. However, in my view, the production standards have been allowed to slide.

The relentless rigours of constant touring are beginning to show on some of the scenery. Whilst peeling wallpaper may add an air of authenticity if it were evident in the Johnstone household, it looks out of place and downright tatty when seen in the Lyons’ home.

Since producer Bill Kenwright took charge 21 years ago, the show must have made him a tidy sum. Well, Mr Kenwright, it is about time you started putting in instead of taking out. Failing that, pass the reins over to someone who is prepared to invest some time, money and effort into the phenomenon that is ‘Blood Brothers.’ Having recently celebrated its silver anniversary, it would be a travesty if the brand was allowed to tarnish now.

Steve Burbridge.

 

Blood Brothers runs at The Sunderland Empire until Saturday 26 September 2009.

UK Productions bring Singin’ In The Rain to a rather wet and windy Glasgow, adding some bright spots to the evening.

 

There are a number of good points to this current tour of Singin’ In The Rain, but unfortunately these are equalled by a number of bad points. It’s never easy to recreate a film on the stage, especially something as spectacular as the MGM’s Technicolor extravaganza Singin’ In The Rain. The story of the introduction of “talking” pictures into the movie industry had some spectacular set pieces in the film, however, it appears that instead of coming up with an ingenious design to try to recreate that magic, UK Productions have gone cheap and made a rather basic set with very few design features to dazzle. Luckily the enthusiastic and talented ensemble added their own dazzle making the chorus numbers a highlight in this show. Using some very witty choreography, which encomapasses some of the traditional elements you’d expect of Singin’ In The Rain, along with some other clever dance elements, choreographer Graeme Henderson sets out his stall well. The fact he is also playing the role of Cosmo Brown is a testament to his talents. It was only a shame that his own “big number”, Make ‘Em Laugh, was not given the same amount of wit, but I think this was more due to the directed elements than the choreography and performance.

 

The other principals are all extremely able, however I was disappointed in the rather restrained performances from Tim Flavin and Jessica Punch as the leading man, Don Lockwood and his new love interest and aspiring actress, Kathy Selden. Both these performers are obviously talented, but don’t seem to deliver the full impact required for the leading performances. It seems much of this is down to Alison Pollard’s direction, as the final lead principal, Amy Griffiths playing the beautiful, but gratingly voiced Lina Lamont, seemed to be much the same, until her own “big number”. In this performance of What’s Wrong With Me we got the chance to see that even while playing the “can’t sing, can’t dance and can’t act” Lina, Miss Griffiths can definitely sing, can definitely dance, and uses her fantastic acting ability to hide these great talents throughout the rest of the show!

 

That said, Mr Flavin and Miss Punch did have moments where they got to show off their performance skills. The character of Kathy Selden does seem to shine during the choral numbers she’s involved in, and stands out during the fantastic set-piece of Good Morning (including the iconic sofa-tipping moment from the movie). This received the longest applause of the evening, as it was a non-stop, high energy dance routine involving the three leads doing what they seemed to do best. Mr Flavin, alongside Mr Henderson, also showed off the fancy footwork during Fit As A Fiddle and Moses Supposes, two high energy numbers with lots of character.

 

Unfortunately all the low points came together at the end of act 1, with the iconic title number. The rather bland set and lighting design was no more evident than when the “rain” started. One strip of water falling along the front of the stage and a rather lacklustre song and dance from the leading man, meant that this was unfortunately the low point of the show. There were no puddles for the leading man to splash in, and by using the whole stage to dance, he spent so little time in the rain, he was barely damp. If he’d done this number in the rain outside on Hope Street, they could’ve saved a fortune on the rain machine, and created a much better effect!

 

The live Orchestra (can 7 people really be credited as an Orchestra?) were fantastic and did give a very full sound. Along with the great harmonies from the ensemble, the hummable tunes and showstopping numbers, you can see why although this is probaby the original juke-box musical (Arthur Freed asked Betty Comden and Adolph Green to come up with a show using his best songs), it has managed to stand the test of time. That said, I think UK Productions need to spend some time and money on this classic to give it the performance it deserves.

 

Listings Info:

 

Tue 1^st – Sat 5^th June

Tue – Sat eves 7.30pm

Thurs & Sat Mat 2.30pm

 

Tickets: £12 - £30

 

Box Office: 0870 060 6647          www.ambassadortickets.com/glasgow

Annie

The Sunderland Empire Theatre

The story of how a little orphan girl named Annie, with the help of her friends, outsmarts a nasty orphanage manager and finds the family she’s always dreamed of is one that has delighted and enchanted audiences since 1976.

Although based upon a cartoon strip that started life in the Chicago Tribune in the 1920s, it has grown into one of the best-loved tales that has ever been told. From its Broadway beginnings, it was made into a 1982 classic movie starring Carol Burnett and Albert Finney and it has continued to enthral theatre audiences the world over ever since.

This uplifting and shamelessly sentimental show is playing at Sunderland Empire for one week only, starring showbiz legend Su Pollard as the dastardly matron of the New York Municipal Orphanage.

Following on from big-name actresses such as Sheila Hancock, Lesley Joseph, Ruth Madoc and Vicki Michelle, Su relishes the role of Miss Hannigan and gives the character lots of layers. Her vast experience of playing comedic roles stand her in good stead to play the drunken lush and her sensational singing voice is utilised to maximum effect in numbers that include Easy Street and Little Girls. Indeed, Miss Pollard gives a consummate performance that dominates the entire show.

David McAlister co-stars as Oliver Warbucks, the billionaire businessman whose hard heart is melted by the optimism and innocence of the street-wise auburn orphan. His performance is genuine, polished and totally believable. His splendid singing voice is spot-on, too.

Strong supporting performances are given by Simone Craddock as Grace Farrell, James Gavin as Rooster and Sophie McEwan as Lily St Regis and the ensemble – of whom there are more than forty – play a variety of minor roles to great effect.

However, as always, it is the animals and children that seem to upstage everyone else and Lydia Tunstall gives a performance to prove that she is a true star-in-the-making as Annie. The scenes that she shares with the other orphans are real highlights, especially their renditions of It’s The Hard Knock Life and You’re Never Fully Dressed Without A Smile. Annie’s mangy mongrel mate, Sandy, also draws gasps of ‘aahhs’ from the audience and almost threatens to steal the show on occasion.

It is almost impossible not to be won over by this fantastic production – there are great performances, great songs and a great storyline. Leapin’ Lizards, it’s a whole lot of fun!

The sun has come out and is shining on the stage of the Empire, so don’t wait until Tomorrow – book your tickets today.

Steve Burbridge.