UK Theatre Network

Menopause: The Musical

Reviewed at The Tyne Theatre & Opera House, Newcastle

WHEN four different women are thrown together at a lingerie sale in a well-known London department store, it seems as though they have little in common. One is a shrewd business woman, one a vegan Earth mother, one a successful soap star and one a dowdy housewife from Skegness.

However, over a fight for a black lace bra, they discover that they have a few more things in common than they first thought: memory loss, hot flushes, night sweats, and a craving for chocolate, to name but a few!

Cheryl Baker, who many will remember from her days as one quarter of the Eurovision-winning pop group Bucks Fizz, leads a fantastic cast including ‘Allo ‘ Allo’s Sue Hodge, Susie Fenwick and Ellen O’Grady.

The laughs come thick and fast as writer Jeanie Linders casts a satirical glance over all things associated with ‘the change,’ and ensures that the menopause is no longer seen as ‘the silent passage.’

Many well-known songs, such as ‘I Will Survive’, ‘My Guy’ and ‘I Got You, Babe’ are re-worked with new lyrics in this joyful musical parody that had the predominantly-female audience cackling with delight – and , no doubt, recognition.

The performances were faultless and every member of the cast proved themselves to be fantastic singers. But, it was their comedic antics that really pleased the crowd, and, in this respect, Sue Hodge almost stole the show with her interpretation of a fat, frumpy middle-aged woman from the Midlands.

By the finale, every member of the audience was up on their feet singing, clapping along and celebrating their femininity – mood swings and all!

Steve Burbridge.

‘Menopause: The Musical’ runs at The Tyne Theatre & Opera House until Saturday 20^th June, before touring to Portsmouth, Horsham, Lincoln and Malvern.

Rent

The Customs House, South Shields, Tyne & Wear

From first impressions, a musical that deals with issues including poverty, homelessness, jealousy, betrayal, drug addiction and the AIDS epidemic, doesn’t sound like a whole lot of fun.

‘Rent’ is, more or less, a modern-day take on Puccini’s famous opera La Boheme. Its storyline is rooted in the realities that were the ‘rent riots’ which were the culmination of spiralling rent increases in Alphabet City, New York, during the 1980s.

The plot follows the lives of seven friends, Mark (Jordan Branthwaite), Roger (Jonathan Bell), Mimi (Jade Thirlwall), Collins (James Alexander Hall), Angel (Andrew McKay), Joanne (Amber Glover) and Maureen (Alice Brown), beginning on one Christmas Eve and ending the next.

Despite the fact that director Gareth Hunter has assembled a cast consisting of considerable vocal and acting talent, Jonathan Larson’s script provides slim pickings for them. There is virtually no dialogue, which hampers the actors with characterisation and makes it harder for the audience to follow the plot and place each character into context. The ‘issues’ tackled seem to come straight from a ‘shopping list’, too.

However, the energy and enthusiasm emanating from the stage somehow allowed this reviewer to overcome these shortcomings and almost enjoy the show.

ION Productions have an enviable reputation for producing shows of the highest quality and there is no doubt that Gareth Hunter is a theatrical impresario, but unfortunately, in my opinion, ‘Rent’ is by no means a representation of their finest work.

However, there were yowls of approval from the audience on opening night and, as far as I could tell, only one yelp of dissent. Judging from the standing ovation, ‘Rent’ must be pleasing the majority.

Steve Burbridge.

‘Rent’ runs at The Customs House, South Shields until Saturday 13^th June 2009.

The Queen's Theatre Hornchurch.

Directed bt Matt Devitt, this production featuring members of the multi talented resident company, Cut to the Chase, promised a sizzling, swinging evening. 

Hot Mikado is a revitalised version of the Gilbert and Sullivan classic Operetta, The Mikado. 
Set in 1940s Japan, the comically unconvincing Japanese characters with an unconvincing array of American accents, remind us regularly that, 'Oh, we are Japanese.' 

The Set is a mixture of a Japanese garden furnished with lanterns and a tiny bridge and a Chicago style jazz club. The energetic cast swap instuments and costumes throughout.
The story begins with Nanki-Poo looking for his lover Yum-Yum, who is destined to marry the marvelously funny Chief Executioner, Koko (Shaun Hennessy).  He warmed the audience up almost immediately with fun references to recent events such as MP's expenses, in his clever version of 'I've got a little list'.  In spite of the many obstacles thrown in their way, such as laws that carry punishment for flirting, the demands of the Mikado for regular executions and the Chief Executioner's inability to actually execute anyone, Nanki-Poo and Yum-Yum finally find a way to be together. 

Although the singing was impressive, (Kim Ismay as the fearsome Katisha performed two incredibly powerful solos) most of the songs were difficult to understand, making the storyline a little tricky to follow. The relatively small stage space seemed to hinder the performers' movements during some shaky dance routines but they compensated with their talent for live music, all playing at least one instrument.  

Georgina Field as Peep-Bo breezed through her dance routines.  Comfortable in her space she 
swapped between the saxaphone and clarinet so quickly, I may not have noticed if I wasn't so captivated by her performance. Steve Pretty was brilliantly corrupt in his sleazy All Gentlemen of Japan role and Stuart Organ as the Mikado performed a great drum solo during the Mikado Song.  Joined by most of the cast this was probably the most impressive, well coordinated and vigorous part of the show.

Although I didn't quite feel the sizzles, the music certainly swung, the audience clapped along out of time and there were plenty of feet tapping away in the aisles.  

All in all a fun show, once the cast began to enjoy themselves.

  
22 May – 13 June

Hot Mikado

Book and lyrics adapted by David H Bell

Music adapted and arranged by Rob Bowman

Previews: Fri 22 May and Sat 23 May at 8pm     First Night: Tues 26 May at 7.30pm

Performances: Tue–Sat at 8pm                             Captioned Performance: Wed 3 Jun at 8pm

Matinees: Thurs 4 Jun and Sat 13 Jun at 2.30pm             Signed Performance: Wed 10 Jun at 8pm

Audio Described: Sat 13 Jun at 2.30pm

The Queen’s Theatre, Billet Lane, Hornchurch RM11 1QT

Tube: Hornchurch

Tickets: £13.50-£22

Box Office: 01708 443333

Website: www.queens-theatre.co.uk

Jolson & Co – The Musical serves up the expected dish of lively jazz and swing music but also hints at a personality darker than the famous face the performer presented to the world.

With 17 instantly recognisable singalong songs backed by the irrepressible personality of Al Jolson (beautifully rendered by Allan Stewart), this production could be nothing other than a huge hit.  Mr. Stewart was expertly supported by Donna Steele and Christopher Howell who, between them, played 17 diverse characters in this elegant three-hander.  Ms Steele is to be particularly lauded for her ability to draw deep emotion from characters who were sometimes on stage for only a few short minutes.  This show is much more than a simple song and dance review as the complex layers of the great man were revealed in a detailed biopic of his remarkable life.

Born Asa Yoelson in 1886 in Lithuania, the youngster changed his name to avoid racist taunts as a boy when his family moved to America.  At the tender age of 8, the death of his beloved mother in childbirth had a profound influence on the youngster.  He developed his entertainer talent on the streets taking many queues from the multi-racial background of his fellow urchins.  However, he also developed an alienating perfectionism coupled with a burning desire to satisfy his mother’s ambition for him.  As his fame grew, so did his ego and this destroyed three of his four marriages and many friendships.  Al Jolson died in 1950 a living legend and almost 60 years later his musical genius and his epitaph live on – “You ain’t seen nothing yet!”.

This tour has been hitting the headlines for all the wrong reasons.  The producers’ decision to present the show without Jolson in his famous “blackface” makeup in order to minimise offence has sparked controversy and press debate.  Jolson (himself credited with championing equality for black Americans) had always declared that he donned the blackface persona to allow him the liberty to express the energy and enthusiasm that his music required – all this at a time when ‘blacked up’ performers were neither unusual nor controversial.  How quickly people forget that Al Jolson’s music and presentation style influenced popular entertainment as recently as the 1978 ‘Minstrel’ TV shows – 92 years after the great man’s birth! This production should, instead, hit the headlines for a flawless performance by Allan Stewart and a gritty and revealing portrayal of the “World’s Greatest Entertainer”.

LISTINGS

KING’S THEATRE GLASGOW

Mon 18 – Sat 23 May

Mon – Sat eves 7.30pm

Wed & Sat Mats 2.30pm

Tickets: £12 - £29

Box Office: 0870 060 6648 (bkg)

www.ambassadortickets.com/glasgow  (bkg)

Looking For Buddy

Live Theatre, Newcastle upon Tyne

(until Saturday 13^th June 2009)

Geordie actor Tim Healy makes a welcome return to Live Theatre, the company that he and a handful of aspiring local actors set up 26 years ago, to take the lead role in ‘Looking For Buddy.’

He plays Phil, a down-at-heel architect, in this witty jazz musical which has been written by one of the country’s most entertaining playwrights, Jarrow born Alan Plater.

When a beautiful ‘bottle-blonde’ named Ella (Jayne MacKenzie) flounces into his Newcastle office, mistakenly thinking he is the private detective from the office below, Phil is drawn into an intriguing and potentially dangerous search for the missing recordings of jazz maestro Buddy Bolden.

Along the way he encounters an array of colourful characters and discovers that The Good Earth Corporation has plans to transform much of Tyneside – and not for the better, either.

With the help of his Marxist sister, Bella (Jane Holman), Frank the Fitter, a former shipyard worker (Phil Corbitt), and Fat Jack, the owner of The Blue Note Jazz Club (Nicholas Lumley), Phil takes on the smart, international corporation and clashes with the icy-cool, sinister Zelda (Jacqueline Boatswain) in an attempt to find out the hidden truth that lies behind the superficial regeneration plans.

Although some of the issues are a little dated – for instance, didn’t the ‘yuppification’ of Tyneside take place in the late 80s and early 90s? – the plot is entertaining and the performances are polished. In addition to the many surprises in the storyline, there comes an even bigger one when Tim Healy reveals that he has a pretty fine singing voice.

The musical score is provided by acclaimed multi-instrumentalist Alan Barnes and delivered by a band that remains on stage throughout the performance, but never detracts from the action. The songs are all written especially for the play and are integrated well.

If you’re looking for an evening filled with laughter, song, comedy and drama, then ‘Looking For Buddy’ is the perfect solution.

Steve Burbridge.

Singin’ In The Rain

The Sunderland Empire (until Saturday 16^th May)

What a glorious feeling!

Musical-lovers are in for a real treat this week as ‘Singin’ In The Rain’ makes a big splash at the Sunderland Empire.

Based upon the 1952 film, it is a comic depiction of Hollywood’s rather awkward transition from silent films to ‘talkies.’

Tim Flavin stars as Don Lockwood, the popular actor who is to play the lead in Monumental Pictures’ new big budget musical, ‘The Dancing Cavalier.’ Tim is an accomplished star of musical theatre and takes the acting, singing and dancing well within his stride.

Jessica Punch’s performance as Kathy Selden, the chorus girl made good, is full of warmth and she has a lovely vocal quality, too.

Strong supporting performances are delivered by Amy Griffiths as Lina Lamont, Don’s vain and shallow leading lady, and Graeme Henderson, as Cosmo Brown, who provides much of the wonderfully slapstick comedy of the era.

All the musical numbers are crowd-pleasers and are delivered with energy and panache by a talented cast and chorus. Particular highlights include ‘Good Morning’, ‘Broadway Dream’ and, of course, the title number – complete with real rain!

The sets and costumes add to the overall striking effect and are symbolic of the stylishness of the production. This is a show that will enchant young and old alike and it is hugely entertaining.

Steve Burbridge.

It has been over 50 years since Jerome Robbins, Leonard Bernstein, Arthur Laurents and Stephen Sondheim came together to create “West Side Story”. It is loosely based on “Romeo and Juliet”; here Maria and Tony are the star crossed lovers who are from different families and different cultures who are caught up in the gang wars in New York in the 1950’s. This particular production has been staged by the Sadlers Wells Company to mark the 50^th anniversary of the show and is now on tour following a successful run in London.

Given that it is a Sadlers Wells production it is no surprise that the dance is given the main focus in this version. Paul Gallis’s set is simple, yet effective in seamlessly changing scenes whilst still giving plenty of room for the company. Due to the design of the set the stage is left bare for most of the show, allowing the maximum space for Joey McKneely’s dance numbers. McKneely has made the decision to move the setting to the modern day and has also changed some of the original sequences; in particular a superb dream sequence where all the cast are dressed in white.

The entire cast work well together, with Sofia Escobar and Daniel Koek giving superb performances as Maria and Tony. Also Harry Francis was hilarious as Baby John. Particular note should go to Jayde Westaby, who sang, danced and acted superbly as a very sexy and very feisty Anita.

An excellent production of a classic show!

Listings:

Festival Theatre, Edinburgh

5 to 16 May

Mon – Sat eves 7:30pm

Thu & Sat mat 2:30pm

Tickets: £17 - £39.50

Box Office: 0131 529 6000

www.eft.co.uk

Then touring until 11 July

In its final dates of this first UK national tour, Witches of Eastwick beguiled the Glasgow audience, who happily fell under the spell!

Marti Pellow of Wet Wet Wet fame takes on the demanding role of Darryl Van Horne (created by Jack Nicholson in the 1987 movie) in this musical adaptation of the raunchy 1980s novel.  So, getting to the point, … is Mr. Pellow any good?  He handled the charisma required for Billy Flynn in Chicago and he’s clearly a natural showman but can he really pull off the transformation from Clydebank Soul Singer to Devilish Soul Reaper?  The answer is a resounding “YES” (with deep, booming sound effects - and just a little reverb).  This was a major step up from Mr. Pellow’s previous theatrical roles and he more than met the challenge.  Never dropping character for a second he delivered mile-a-minute dialog with aplomb, leaping from smooth confidence to jittery unease in a schizophrenic heartbeat.  Combined with a physical delivery reminiscent of Jim Carrey, his performance was irresistible.  Marti Pellow may have been cast out from the world of pop, but he reigns supreme in this role.

Co-stars Ria Jones, Rebecca Thornhill and Poppy Tierney as witches Alexandra, Sukie and Jane delivered their character transformations brilliantly with vocal talents to match.  The principals were supported by a talented ensemble cast featuring a suitably tortured performance from Rachel Izen as community nay-sayer, Felicia Gabriel.

The show is quite traditional in style featuring a chorus opening, character development through song and a traditional walk-down finale (rather than a more ‘modern’ all-singing “megamix”).  But the content is very contemporary with some fairly graphic seduction scenes, some cheeky nudity and plenty of underworld language – not for the faint of heart!  Presentation was superb with beautifully stylised sets, dynamic lighting and well executed flying!  Musical Director, Tom Deering, earned his spotlight with a very animated performance!

LISTINGS INFO:

Kings Theatre Glasgow

Tue 28 April – Sat 9 May

Mon – Thu eves 7.30pm

Wed 29 April mat 2.30pm

Fri 5pm and 8.30pm

Sat 2.30pm and 7.30pm

Tickets: £12 - £36

Box Office 0870 060 6648 (Bkg)

www.ambassadortickets.com/glasgow (bkg)

Fame: The Musical

UK National Tour

Reviewed at The Sunderland Empire Theatre

Based on the 1980 hit movie and successful television series that ran from 1982 -87, Fame: The Musical follows the lives of the students and faculty at the New York High School for Performing Arts.

However, don’t expect to reacquaint yourselves with Coco, Montgomery, Bruno, Leroy and Doris as this production of Fame is set in the present day. Although the characters have changed the story remains virtually the same.

The decision to update this musical, thus depriving the audience of the opportunity to don leg-warmers and spandex, works successfully on some levels and not on others. Recognisable musical numbers such as ‘Star-maker’ and ‘Hi-Fidelity’ are absent, although the iconic title number remains. The new songs, including ‘Hard Work’ and ‘Bring On Tomorrow’ are apt and well sung but, with the exception of Beverley Trotman’s performance of ‘These Are My Children’, they are not as catchy as their predecessors.

The choreography is amazing and executed with precision and energy by a young cast who were danced to within an inch of their lives. The set is simple but highly effective and lighting is skilfully utilised to reflect the mood and tone of each scene.

Despite the fact that Fame is an ensemble show, a couple of performances stood out as exceptional. Holly James plays Carmen with honesty and conviction and Tarisha Rommick puts in a wonderfully comic turn as Mabel.

Disappointingly though, the pizzazz of the television series is only really recaptured during the reprise of the signature tune at the finale.

Steve Burbridge.

Jolson & Co: The Musical

Reviewed at Theatre Royal, Newcastle

The life of legendary performer Al Jolson is being played out on the stage in the sensational bio-musical, Jolson & Co.

 Known as ‘the world’s greatest entertainer’, Jolson was arguably the most successful star of the first half of the twentieth century. By 1920, he was America’s most famous and highest paid entertainer and he took the leading role in the first ‘talking picture’, The Jazz Singer in 1927. His life, however, was born of humble origins.

Asa Yoelson was born in Lithuania in 1886, the fourth child of Moses Reuben Yoelson and his wife Naomi. When he was eight the family emigrated to America, and by the time he was eleven he had been bitten by the showbiz bug and was singing, with his brother Hirsch, for coins on street corners.

Allan Stewart gives a breath-taking performance as Jolson in this stylish and sophisticated production. His voice is exquisite, full and powerful as he belts out Jolson’s biggest show-stoppers.

The show cleverly takes the format of an interview between Jolson and radio presenter Barry Gray at Broadway’s Winter Garden Theater in 1949. Significant events in his life are reconstructed in the form of flashbacks, revealing to the audience that it was not entirely made up of only glamour and glitz.

Indeed, Jolson’s personal life provides plenty of dramatic content and Stewart’s skilful performance reveals a man who needed constant reassurance from his adoring public, a man capable of loving an audience of thousands and yet unable to give himself to only one woman. Indeed, Al Jolson, it seems, was seduced by his own fame, wealth and success and spiralled into an egotistical, domineering control freak.

Only three performers appear on stage throughout this high-calibre show – Stewart, as Jolson, and his co-stars Donna Steele and Christopher Howell, who both play in excess of eight roles each.

Miss Steele is a talented actress, singer and dancer who is compelling to watch. She plays Jolson’s mother, three of his wives and Hollywood actress Mae West, too. Every character is successfully honed and so carefully drawn that you really are not conscious of the fact that they are all being portrayed by just one actress. Likewise, Christopher Howell plays a multitude of male characters, also with great aplomb.

Credit should also be paid to Chris Hayward who, as Head of Wardrobe and Costume Supervisor, adds an authoritative air of authenticity with a fabulous array of costumes and shoes.

Designer Morgan Large has provided a simple but highly effective stage that, rather than detracting from the drama, subtly enhances it

The inclusion of musical numbers including ‘Babyface’, ‘My Mammy’, ‘Swanee’ and ‘California, Here I Come’ gives the audience plenty of opportunity for tapping their feet and singing along, and concludes the show on a happy, nostalgic note. Miss it at your peril!

Steve Burbridge.

Jolson & Co: The Musical is at Theatre Royal, Newcastle, until Saturday 18^th April 2009.