Keith Jack, the hugely popular runner-up who finished just a hair’s breadth behind winner Lee Mead in the hit BBC TV series Any Dream Will Do, donned the famous coat of many colours to play the lead role in Joseph and the Amazing Technicolor Dreamcoat at Darlington Civic Theatre last night and for the rest of this week, until Sunday.

Following in the footsteps of many others including Donny Osmond, Jason Donovan, Phillip Schofield, Ian ‘H’ Watkins and the late Stephen Gateley, Keith was in no way overshadowed by these big names. His portrayal of Joseph struck exactly the right balance of vulnerability and heroism and he made the part entirely his own. From his first appearance, right through to curtain call, Keith captivated the audience with his stage presence and vocal talents. He handled all his musical numbers with aplomb and hit each note with precision and perfection. Keith suited the role visually, too.

Trina Hill played the role of the Narrator. Her voice was as clear as a bell and her diction was impeccable. Trina’s natural charm and pleasing stage presence make her the perfect performer to move the story along.

Lachlan Scheuber gave a lively performance as the pelvis-thrusting Elvis-style Pharaoh. Other notable performances came from Henry Metcalfe as Jacob/Potiphar and Camilla Rowland as Mrs Potiphar.

Much of the dance action came from Joseph’s brothers. They all performed with boundless energy and enthusiasm, and there were some quirky interpretations of some of the songs. One More Angel In Heaven was performed in a country and western style, complete with Stetsons; Those Canaan Days was given a Parisian flavour and there was even a Caribbean Calypso number thrown in to extol the virtues of Benjamin, the youngest brother. I am not certain why the style and setting of these musical numbers was shifted away from Ancient Egypt but, you know what, it didn’t really matter anyway!

The sets are uncomplicated, yet extremely effective and riotously colourful. A real visual treat! The score is a sure-fire winner, having been penned by Tim Rice and Andrew Lloyd Webber it couldn’t really fail. The real showstoppers, Close Ev’ry Door To Me; Poor, Poor Joseph and Any Dream Will Do are instantly recognisable and stand the test of time.

Joseph and the Amazing Technicolor Dreamcoat  is a real family show, full of fun and froth but with a moral of forgiveness and reconciliation at the heart of the story as well. It’s simply great entertainment and a Technicolor dream-come-true.

 Steve Burbridge.

Runs until Sunday 17 October 2010.

Motherhood The Musical is a perfect women's night out. It's hilariously funny but poignant at the same time-you won't want the evening to end.
A talented cast share with us the experiences of four women at different stages of motherhood when they throw the youngest of their friends a baby shower. 
Fantastic comedy song and dance routines, by writer Sue Fabisch and director/choreographer Andrew Lynford, will have you roaring with laughter.  
All of the cast have impeccable vocals and excellent comic timing; but Leah MacRae really steals the show. Her portrayal of down-trodden but loveable mother Barb is priceless.
This musical is a superb production and really is a must-see. There is something for all females to identify with; mothers or not. A celebration of all that makes women unique. 

Listings:

Tue 12- Sat 16 October
Tue- Thur eve 7.30pm
Fri eve 8.30pm
Sat eve 8.30pm
Box Office: 08448 717 648 (bkg fee)
www.ambassadortickets.com/glasgow (bkg fee)
 

Well, well, who would have believed it? The music of The Proclaimers is just made for the stage!

Showing now at The King’s Theatre in Glasgow, Sunshine on Leith is a

Leith, for those of you not from these parts, is the traditional dockland area of Edinburgh, and quite a different place from its more genteel neighbour.

Billy Boyd (Pippin Took in Lord of the Rings) is terrific as Davy, superbly supported by old pros John Buick and Ann Louise Ross as Rab and Jean, his parents.

But for me the star of the night is Jo Freer as Liz, as much for her sheer vitality as for her undoubted ability as an actress. Brilliant at the comedy, powerful in the more serious moments, and a talented singer bursting with energy and enthusiasm, she outshines a very impressive all-round cast, where Michael Moreland and Zoe Rainey also perform with great credit.

The songs are, inevitably, the core of any musical production, and, somewhat to my surprise, the work of Craig and Charlie Reid is very stage friendly. All the hits are here including Letter to America, I’m Gonna Be (500 miles), I’m on My Way and, of course, the wonderful title track, Sunshine on Leith, a deceptively simple but exceptionally moving ballad.

So, an excellent script by Stephen Greenhorn, a strong cast, well directed by James Brining, performing great songs. What’s not to like?

A hugely entertaining night out.

tale of two squaddies home from the war, and their difficulties in settling back into family and romantic affairs.

Dundee Rep Ensemble return to Glasgow for the third time with the smash hit Scottish musical, Sunshine on Leith

 

Having seen this show in it’s original incarnation, I had fond memories and was slightly worried that I was now viewing my memory of the show through rose-tinted spectacles. However my fears were quickly laid to rest from the powerful opening number. This show had retained all it’s charm, heart and wit, and with a few changes in the prinicipal line-up there seemed to be a very fresh feel about this current production.

 

For those who haven’t seen it, Sunshine on Leith follows Ally and Davy on their return from the Army to their lives in Leith. Ally dates Davy’s sister Liz, a nurse, who sets her brother up on a date with her (English) colleague, Yvonne. These two love stories are joined by that of Liz and Davy’s parents, Jean and Rab who are due to celebrate 30 years of marriage. Unlike many jukebox musicals, there is a strong script from Stephen Greenhorn which is typical of his credentials – heartfelt and convincing dialogue along with dramatic misfortunes and timing of a soap opera. However the songs are no afterthought. Using the back catalogue of The Proclaimers, the songs are expertly placed and arranged to fit the story dramatically and musically. From the comedy of marriage proposal advice in a Hibs supporters bar, to the heartbreaking pared back version of Sunshine on Leith the music covers all emotions and, thanks to the work of Hilary Brooks, is expertly handled by the musicians and the cast.

 

And what a cast – with so much stunt casting in touring productions these days, the sight of Lord Of The Rings actor Billy Boyd’s name attached to this musical did cause a little chill in me before entering the theatre. However he proved to have an excellent voice which blended beautifully in his duets with West End favourite Zoe Rainey, joining the cast from her recent stint as beauty queen Amber Von Tussle in Hairspray. Ann Louise Ross reprises her role as matriarch Jean, and was still as exciting in the role as her first performance, with comic timing sharp enough to cut through steel.

 

With the exception of Our House or Buddy , there are very few “jukebox musicals” that can make a decent emotional impact on the audience, however Sunshine on Leith trumps them all. With a great script littered with humour, pathos, politics and love and with a soundtrack of music that can both bring an audience to tears or to their feet this show has it all. Tickets have sold out on both previous tours, and I see no reason why this won’t be the case again this time. This is one show I’d definitely be happy to walk (well ok, maybe take the car) 500 miles to see!

 

Performances:

 

Tue 28 Sep:    7.30pm

Wed 29 Sep:   2.30pm & 7.30pm

Thu 30 Sep:    7.30pm

Fri 1 Oct:         5.30pm & 8.30pm

Sat 2 Oct:        2.30pm, 7.30pm

 

Tickets: £11-£28

Box Office: 08448 717 648(bkg fee)
web: www.ambassadortickets.com/glasgow

I should have never let you out of my sight.

 

This musical looks at the complexities of relationships between brothers and sisters and mothers and sons. Set against the background of a changing America between 1952 and 1990 this two-person tour-de-force follows John's and Jen’s changes from childhood to adulthood and beyond.

 

Six-year-old Jen Tracy welcomes her newborn brother John into the world, with a warning about the way things work and a promise to protect him from his abusive father. Jen does her best to shield John from life’s disappointments and their father but not long after John’s seventh birthday Jen discovers a bruise on his face. Jen vows that their father will never hurt John again and the two siblings make a deal to always be there for each other. This deal ends when Jen moves on to New York City to attend Columbia University and changes into a peace loving Hippie whilst John stays home and falls under the influence of his father - he joins the Navy to fight in Vietnam.

 

The storyline is fairly predictable and the sweetness factor is a bit too much in some scenes but this is a very touching and at times extremely funny story about an older sister – younger brother relationship. The two young actors are outstanding. I was particularly impressed by Tom Keeling who effortlessly changes from an infant to a teenager to a young adult but Kendra McMillan was equally convincing as the older sister and later, in the second act, as the mother who loves her son too much. Thanks to the talented performers and the beautiful music (cello played by Clare Graham, piano and musical direction by Sonum Batra) there is not a dull moment in this production.

 

The book for this show was written by Andrew Lippa and Tom Greenwald. Andrew Lippa, who also wrote the music, won the Outer Critics Circle Award for his Off-Broadway musical Wild Party and the 2000 Drama Desk Award for his contribution to the hit musical You Are A Good Man, Charlie Brown.

 

7.30pm 21 - 23 September
5.30pm & 8.30pm 24 September
3.00pm & 7.30pm 26 September

Tickets: £ 12 / £ 10 (concessions)

BOX OFFICE: 020 7704 6665
The Rosemary Branch, 2 Shepperton Road, London N1 3DT

 

Blood Brothers

Darlington Civic Theatre

“So, did y’hear the story of the Johnstone twins?”

Well, if you haven’t you must! The phenomenon that is Blood Brothers has been captivating audiences for 25 years now and, although this musical is celebrating its silver anniversary, it can only be described as pure gold. Willy Russell’s moving tale of two twin boys who are separated at birth and grow up on opposite sides of the social-class spectrum, only to meet up again with devastating consequences, has established itself as a contemporary classic around the globe. From the West End of London to South East Asia the multi-award winning musical plays to sell-out theatres every night.

Having seen the show numerous times before, the characters and plot are familiar to me but, despite that, Blood Brothers grips me each and every time with its poignancy, humour, tenderness and tragedy.

The role of Mrs Johnstone is surely one of the most coveted in musical theatre and the struggling single mother “with seven hungry mouths to feed and one more nearly due” has been played by such well-known actresses as Barbara Dickson, Petula Clark, Kiki Dee, Stephanie Lawrence, Helen Reddy, Carole King, Lyn Paul, Marti Webb, Melanie Chisholm and four of the Nolan sisters. Niki Evans is the actress who is currently wearing the care-worn smile and cross-over pinny.

Evans presents the audience with quite a different ‘Mrs J’ – although she is maternal, understanding, compassionate, earthy and warm-hearted, she also displays a nervy vulnerability. In addition to a phenomenal acting performance, she delivers her musical numbers with meaning and conviction and her voice is clear, rich and full of emotion.

Sean Jones, as Mickey, and Paul Davies as Eddie are outstanding. It can’t be easy to convincingly play a seven year old child but both of them achieve it admirably, capturing every childhood nuance accurately. The transition to teenager, then man, is equally convincing. Both actors display great skill with the many poignant scenes that they share and the contrast between ‘posh’ Edward and ‘scruffy’ Mickey manifests itself perfectly in their performances. Jones makes the most of Mickey’s comedic qualities without ever over-playing them and Davies gives Eddie an endearing charm and vulnerability.

Kelly- Anne Gower plays Linda, the girl both boys fall in love with. She, too, gives a fine performance throughout, especially in the scene where she tries to persuade Mickey to stop taking the anti-depressants that have transformed him into an empty shell of a man.

Robbie Scotcher plays the significant role of the Narrator, a spectral figure who personifies the moral consciences of Mrs Johnstone and Mrs Lyons, and his performance is as strong and sinister as it should be. His ominous presence hovers around like a dark storm cloud on a sunny day and his strong and powerful voice is hauntingly beautiful.

The strong supporting cast includes Tracy Spencer and Poppy Roe who play Mrs Lyons and Donna-Marie respectively. Daniel Taylor is bad-boy Sammy and Tim Churchill is Mr Lyons.

Blood Brothers is a production that goes from strength to strength, its appeal growing over the years rather than diminishing. It is so powerful a play that it can be watched time and time again without ever losing any of its emotional impact or social relevance.

Wherever it is performed, Blood Brothers receives a standing ovation from an approving audience and last night was no exception. This production is heart-warming, tear-jerking, uplifting, devastating and, above all else, brilliant!

Steve Burbridge.

Runs until Saturday 25 September 2010

 

 

 

 

 

 

Gotta Sing, Gotta Dance

Darlington Civic Theatre

 If you love Lloyd-Webber, go ga-ga for Gershwin, or sing-along to Sondheim, then Gotta Sing, Gotta Dance is the show for you! In a nutshell, it is a celebration of all things musical – be it from the West End, Broadway or the Silver Screen.

Seven sensational singers and dancers take the audience on a memorable musical journey that encompasses seven decades in a mere two hours. Well, what’s not to like about that, eh?

You’d be hard-pushed to think of a show that is not included in this terrific, toe-tapping treat. Without leaving the comfort of the Civic’s plush red seats, you are transported to the American Wild West (Annie Get Your Gun, Oklahoma!), Olde Worlde London (Oliver!, Mary Poppins and Sweeney Todd), the streets of Liverpool (Blood Brothers) and the magical land of Oz (Wicked).

The cast work their socks off throughout and are backed by a band that never hits a note out of tune. Numbers are choreographed with panache and precision and executed with energy and enthusiasm.

Certain sections are used to pay homage to the best in the business, including Lord Lloyd Webber and Stephen Sondheim, whilst others celebrate the increasingly prolific ‘juke-box musical’ or provide a fast and furious four-minute round-up of the productions that ate currently wowing the West End.

Only a couple of minor irritations detracted from this production. One was a couple of old codgers at the rear of the stalls who talked incessantly throughout the performance, whilst the other was some sloppy production standards that resulted in a polystyrene beam that fell from the stage into the auditorium and projection images being shown out of synch with the musicals they were designed to illustrate.

If, like me, you’re a self-confessed musical junkie then you will want to ‘Put On Your Sunday Clothes’ and head straight for the theatre. If not, then you’ll want to yell ‘Tell Me It’s Not True’.

Steve Burbridge.

Runs until Saturday 18th September

 

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

Tickets: £22.50 - £40.50
Box Office 0844 8717 648 (Bkg fee)
www.ambassadortickets.com/glasgow (bkg fee)

Spirit Production's production of 'Dancing Queen' is most definitely not going to make you dance in the aisles. 

Haphazard dancers who appear to have just learned their steps mark out routines which are amaturely  choreographed. There is none of the slickness and professionalism that one would expect from a show touring major venues and charging west-end prices.

Four principle performers lead the troupe. There are some excellent vocal performances from them, but also some poor ones; showing they just aren't of a consistent standard to be able to front a large-scale show. Jonathan de Mallet Morgan looked embarrassed to be on stage, and uncomfortable in his body in this performance.
It took the cast almost the entire first-half (consisting of some hugely popular Abba numbers) to get the audience clapping along.

Costume designs are uninspired, and do nothing to enhance the production. The costumes have all the quality and craftsmanship of a show at a caravan park in Cleepthorpes.

For a show with no narrative, it relys entirely on it's adaptation and execution of Abba's vocals and dance routines; and these just aren't up to scratch. At times they are almost laughable. During one number- 'Gimme Gimme Gimme'- dancers appear in lingerie posing on chairs. It has all the class and sophistication of a strip show at a gentleman's club.

If you are a major Abba fan and are just looking for a fun night out with the girls; then maybe this is suitable for you. However, if you are expecting to be wowed by vocals and see slick and perfected dance routines that one would expect from a show like this; then this isn't the production for you. 

Tues 1st - Sat 5th June 2010
Tues - Thurs & Sat eves 7.30pm
Fri 5pm & 8pm
Sat mat 2.30pm
Tickets £11 - £23
Box Office 0844 871 7648
www.ambassadortickets.com/glasgow
 

Whistle Down the Wind blows into Glasgow’s King’s Theatre this week.

Whistle Down the Wind is based on the 1961 children’s novel by Mary Haley Bell; famous wife of John Mills and mother of Haley and Juliet.  The musical came into being in 1996 from an unexpected collaboration between Andrew Lloyd Webber and Jim Steinman.  Despite spawning the most successful single in musical theatre history (“No Matter What” performed by Boyzone hit the number 1 spot in 18 countries), the show proved to be a hard sell with a short West End run and a cancelled appearance on Broadway.

This second UK national tour brings together a talented cast to create a success where those before have failed.  Their efforts do not fall flat and the audience left happy, if a little bewildered as to what had not quite worked.  One audience member summed up the feelings of many in the foyer by saying “It wasn’t as bad as I thought it would be”.  Not, altogether, an unqualified success, then.

So, it’s up to me to tell you what was good and what was not so good.  The good is easy.  Jonathan Ansell (The Man – that’s his character name and not a recommendation of just how important he is) was very good indeed.  Playing an escaped convict who is mistaken for Jesus by 3 Louisiana youngsters, Jonathan dirtied up his clean cut “G4” appearance and, more importantly, dirtied up his clear as crystal voice to play this character role.  He was menacing and mysterious throughout.  Jonathan was matched by Carly Bawden as 15 year old Swallow, who is mesmerised by the stranger hiding out in her barn.  The clarity of Carly’s voice cut beautifully through Jonathan’s new bad-boy vocals in perfect contrast.

The supporting cast largely fell into the ‘good’ camp with particularly solid performances from Lincoln Stone, Scarlette Douglas and Scott Bourne.  A few disappointing accents were a let-down, together with some odd Meatloaf style vocals.

And that leads me into the not so good elements of the show … the jarring changes of musical style were quite upsetting.  If you listen to the original concept album for this show, you will hear artists as diverse as (the aforementioned) Meatloaf, Boy George, Boyzone, Elaine Page, Donnie Osmond and Bonnie Tyler.  An eclectic mix of performers, I’m sure you will agree.  Now, imagine that all of these vocal and musical styles are reproduced onstage in one story based production … it’s just odd!  The second failing is the story itself which could be summarised in one sentence.  The show scratches the surface of the deeper issues of faith and racism but I’m not convinced that a children’s story from 1961 is the most likely source of 2 ½ hours of entertainment for adults.

To finish on a positive note (because I did enjoy this show) I can say that Paul Farnsworth’s set was among the most impressive and ambitious touring production sets I have witnessed.  In scale, perspective, practicality and speed of changes it was second to none.

Listings Info:
Whistle Down the Wind
Mon 24 – Sat 29 May
Mon – Sat eves 7.30pm
Wed and Sat Mats 2.30pm

Tickets: £14.75 - £34
Box Office 08448 717 648 (Bkg fee)
www.ambassadortickets.com/glasgow (bkg fee)