Musical Geek - Musical Theatre Reviews

One of those stories that I’d be surprised if the public will ever tire of experiencing now touring again across the UK, if it was a simple tale of the success achieved by The Four Seasons it wouldn’t be as engrossing as it is, the trials and tribulations of a turbulent journey are what makes the story worth the telling and the current production tells it so very well. Frankie Valli (or Francesco Stephen Castelluccio if you want his real name) is at the centre of what is a gritty, real drama more than anything but, enhanced with some of the most iconic tracks that will ever grace a piece of musical theatre. Add the group ‘godfather’ Tommy DeVito, the real musical genius of Nick Massi and finally the super talented songwriting skills of Bob Gaudio and you have that perfect mix. Michael Watson is a confident and highly engaging (some subtly significant facial expression in addition to an amazing voice) as Mr Valli with an ‘i’, Simon Bailey frighteningly and realistically earthy as th

It’s Panto Time again and Birmingham Hippodrome already have the bar set incredibly high after recent years, so there is a big challenge for Qdos Entertainment to bring something bigger, better and bolder than before. Can they do that would have been the question and the answer is .......... of course they can with everything from a flying horse carriage to a star-studded cast this is a couple of hours you should seriously take to lose yourself in the entertainment phenomenon that is pantomime. Back for his fifth appearance and with a sixth already sealed is the spectacular comedy appeal of Matt Slack, if anybody was put on this planet for pantomime it’s Matt, audience appeal, quick witted responses and a hit with the youngsters (even if the odd joke goes straight over their heads). You can’t stage a show of this stature without a top class songstress and they don't come with a higher pedigree than this Fairy Godmother in the form of soul diva Beverley Knight. Along with so

This tale from C.S. Lewis is undoubtedly timeless and that makes it a challenge for every new production to be a bit different with some added audience appeal and the Crescent Theatre have managed that in a number of ways. Firstly there is a striking set, deceptive in simplicity but, with sufficient nooks, crannies and hidden rooms to house all the relevant scenes from the house of Mr Tumnus the Faun to Aslan's Camp, a triumph of design from Ruth Collins and her Set Team. Secon dly an array of stunning costumes attributable to some top rate design from Jennet Marshall and her Costume Team. Thirdly some innovative directing from Alan K. Marshall, not least of all an opening scene with all the characters from Narnia as human alternatives in a country war-time railway station montage. Equally the use of children dressed in white as Snow Spirits, although the audience is never quite sure whether they are on the side of the White Witch or not. Finally some superlative stagecraft

If you’ve ever seen the movie of Singin’ in the Rain you may remember that Cosmo Brown calls Lina Lamont a ‘triple threat’, she can’t act, she can’t sing and she can’t dance. Joanne Clifton is actually the polar opposite of this, she can do all three and do them well, she’s also easy on the eye and has uncanny knack of being able to connect with an audience whilst still keeping the integrity of a character, a rare commodity. This is obviously the latest stage adaption of the 1983 movie and is a montage of stories headed by that of Alex Owens (Joanne Clifton), worker in a steel mill during the day, yet pursuing her dream of being a dancer at night. Sadly in a less than salubrious location and a far cry from the dance conservatory that she aspires to but, fortunately with support from (and a romantic relationship with) her privileged boss Nick Hurley, an engaging portrayal by Ben Adams proving there is much more than Boy Band to his performance capacity and her mentor ex ballerina Hann

You might be disappointed if you were to attend this production and expect to see that number of spotty, furry canines on stage but, that disappointment would soon fade with the class puppetry, acting and musicianship of a multitalented cast. In the ever increasing vein of the hit production of ‘War Horse’ this is a feat of entertainment that amazes as well as delights, charms and beguiles the audience from beginning to end. From the moment we meet the enticingly normal Mr & Mrs Dearly (Morgan Philpott and Nadi Kemp-Sayfi) with their physically canine pets Pongo & Missis (controlled flawlessly by Oliver Wellington and Emma Thornett) you just know this will be a memorable experience. Having given birth to a large litter of puppies, they are stolen by Jasper & Saul Baddun (comical names and finely tuned comic acting from Lewis Griffin and Luke Murphy), henchmen of the deliciously bad, yet fundamentally fragile Cruella de Vil (a portrayal of domineering vulnerablity from

Having already had one successful stage musical in the form of ‘The Girls’ based on the film Calendar Girls, Tim Firth teams up again with Gary Barlow to bring another to the stage, this time with the added likely ‘success factor’ of a catalogue of ‘Take That’ Hits to bank on courtesy of not only Mr Barlow but, Mark Owen, Howard Donald and Robbie Williams. Casting for a group of fresh young talent to play ‘The Band’ via the television series ‘Let It Shine’, prime time viewing on BBC 1 earlier in the year a proven formula for discovering musical theatre talent these days. Much consternation after the guys from the group ‘Five to Five’ won the show, that their roles in this musical would be peripheral to the main action and concern that all the hype might have been for nothing. With this thought in my head I wasn’t quite sure what to expect as the lights dimmed, suffice to say if anybody out there is worrying that they have been duped and will not see something interesting, entertain

Firmly in that genre of classic and widely loved shows is the archetypal High School Musical (from well before the one of that name existed), it’s the word ‘Grease’. Probably not immediately obvious is the fact that the stage musical debuted in Chicago during 1971 some six years before John Travolta and Olivia Newton-John donned the guises of Danny and Sandy on the movie screen. It’s interesting to note that Jim Jacobs and Warren Casey wrote a far more aggressive and profane show, which bears little resemblance outside of storyline to that now regularly touring to packed houses. So Danny and Sandy meet at the beach during summer vacation, however when they meet again at school Danny is no longer the guy Sandy thought she knew, due mainly to feeling the need to act ‘cool’ in front of his gang friends from the T Birds. Tom Parker (of The Wanted) brings youthful exuberance and some great dance moves to the role of Danny and Danielle Hope is the closest I have seen to Ms Newton-John as

Fairly rare that a piece of totally immersive theatre using song, music, sound effects, puppetry as well as some outstanding performance storytelling, comes along. However originally a National Theatre production and now in its 10th Anniversary year, just one of those pieces is War Horse am emotional tale based on the children’s book of the same name by Michael Morpurgo. At the core of the story is the bond between boy and animal, a horse called Joey and young Albert Narracott played with engaging charisma by Thomas Dennis, the two brought together by feuding bids between brothers at an auction from Albert’s father, Ted and his uncle Arthur (played with typical northern grit by Jack Lord and William Ilkley respectively). Relationship between boy and horse grows ultimately leading to triumph in a ploughing contest forced through jealousy by cousin Billy (another convincingly northern performance by Jasper William Cartwright). Although this is not something a riding horse would norma

One of those stories that never loses appeal, curmudgeonly old Ebeneezer Scrooge (played with more than a touch of panache by Nicholas Sullivan) cares not a jot for Christmas and treats his lowly clerk Bob Cratchit shamefully (a part in this version of the story perhaps not as central as in others but, played charmingly by Alastair Smith), similarly his clients and in fact people in general. However there are some harsh lessons for Ebeneezer as he settles down in his squalid residence with a bowl of gruel (this old miser doesn't even treat himself well). Announced by the dominating, ghostly form of his now deceased partner Jacob Marley (a commanding performance both on the ground and in mid-air by Tim Jones). Three ghosts will visit him to recount his sad past, remind him of his painful present and predict his doomed future if he does nothing to change his ways, all three of the ghosts around which this story hinges are played in exemplary style. Lydia Tidmarsh appearing initia

Becoming somewhat a cult classic the stage musical interpretation of the 1992 movie starring Whoopi Goldberg is incredibly popular for amateur performance at the moment and it's not hard to see why, however as I sat down to read the programme at this performance I found myself filled with trepidation at the fact that the lead character of Deloris Van Cartier is played by Laura Woodall. Nothing strange in that you might think but, Laura isn't African American and surely that part requires an actor of that descent, maybe the accent isn't a problem to achieve but, surely the skin tone is, knowing the show well there are some lines that just wouldn't work so this must be doomed to failure. Let's clarify one thing first Laura is an exceptional singer, a great actress and quite literally embraces the character of Deloris in every way and of course lines can be changed so that they fit in with whatever artistic rendering of a production a director might wish to use and

There are many words that could be used to describe the entertainment phenomenon that was Cilla Black, I like to think that superstar would be wholly appropriate and having that status it’s completely justified that a stage musical about her early life (based on the original highly successful television drama by Jeff Pope) should be entertaining audiences across the UK. Whilst it’s impossible to replace the irrepressible Cilla it’s the mammoth task of somebody to play her on stage (additionally to follow in the footsteps of another national treasure in Sheridan Smith who took the part on television screens). Stepping up to the plate and smashing the task out of the stadium is Kara Lily Hayworth, the voice, the accent, the characterisation to name only a few criteria are spot on and I can only imagine Cilla is smiling somewhere in another existence. In the other equally important leading role of Bobby Willis, Cilla’s confidante, ultimately life partner yet initially protector and pe

One of those classic tales, a Christmas setting and a child star in the making provides a highly engaging evening for audiences as BMOS Musical Theatre Company stage the musical version of Miracle on 34th Street. Who is Kris Kringle, is he really Santa Claus or just a lonely and deluded old man. Edmund Gwenn who played the role in the original 1947 movie with Maureen O'Hara as Doris Walker, won both an Oscar and a Golden Globe for his portrayal. Stewart Keiller is worthy of similar awards for his performance of Kris, he's likable, sincere and gels well with the rest of the cast, in particular the children. Doris Walker is played with great conviction and an exceptional singing voice by Jo Smith and the part of Fred Gaily, ex marine and budding legal attorney is presented in a highly appealing manner by Matt Collins (his on stage relationship with Willow Heath as Susan Walker, disbeliever of the whole Christmas 'thing', is a joy to behold). What can be said about you

Kidnapping your boss, tying him up in his pyjamas and blackmailing him due to his chauvinistic management style may not be a classic basis for a musical but, it definitely provides great entertainment value. Based on the 1980 movie of the same name and with music and lyrics by the Country Music Legend that is Dolly Parton it's a tale female triumph over male management domination back in the days when women were resigned to jobs as secretaries if they were even in the workplace at all and sexual harassment was probably far more commonplace than anybody would like to admit. The three stars of the show are Michelle Cassells providing a commanding performance as single mother and secretarial lead Violet Newstead, Salli Gage challenging Miss Parton herself to be remembered in the role of Doralee Rhodes and Louise Hicklin delivering a triumph in understatement as the timid, jilted and almost mouse like Judy Bernly. All three ladies have well-crafted singing voices and as a trio derive

Let’s try and turn a successful series from the TV into a stage musical, must have been the thought at some point by Kay Mellor, writer, lyricist and director of Fat Friends - The Musical. Bring on board Nick Lloyd Webber son of ‘you know who’ with equal musical talent as composer and Karen Bruce with huge choreographic pedigree and surely this cannot fail. I’m not sure what my immediate thoughts would have been, other than this really shouldn’t work but, I would have been completely wrong and should have been looking for a financial piece of this comedy musical gold, even after the casting of one Andrew ‘Freddie’ Flintoff in a lead role. So what’s the storyline, somewhat portly northern daughter Kelly (played with wild abandon and golden vocals by Jodie Prenger, looking stunning in a corset !) has her eyes on not only boyfriend Kevin (the seriously entertaining Mr Flintoff) but, a particular wedding dress that she can’t fit into. Betty her mother and played with a dry comedy by X

It's hard enough to create a successful and popular musical but, to bring to the stage the rich diversity required to depict a life and more importantly the life of a popular music icon who is very much still with us and loved by generations of music lovers, is almost one step too far. However that musical exists and is currently touring the UK after over two years in residence at the Aldwych Theatre in London's West End. Starring the totally stunning Bronté Barbé as Carole King and at this performance Grant McConvey in a highly controlled and completely believable interpretation as her partner in marriage and songwriting Gerry Goffin. Gerry Goffin & Carole King were married in 1959 at which point she was 17 and he was 20 and went on to write a string of hits (she the music, he the lyrics) for numerous artists. Their first being 'It Might As Well Rain Until September', originally created for Bobby Vee but, released by Carole herself and although it only reached

Music and lyrics from those lovable lads from Camden Town, Madness are at the heart of this musical which I guess could easily be branded as a Jukebox Musical but, is so much more than that with a touching and engaging storyline that draws the audience in and asks them to make a decision between wrong and right. Story revolves around the central character of Joe Casey, played with energetic exuberance by Jason Kajdi who with his girlfriend Sarah (a powerfully voiced performance from Sophie Matthew) breaks into a building on Camden Lock. As the police arrive he has to make choice, hand himself in, or take flight and try to escape without taking responsibility for his crime. At this point the story splits and we see how things might have been from both angles overseen by Joe's now dead father (played with great emotion by Callum McArdle). Will he take the honest path no matter how painful that may be for him or will he try to deceive the system and hope he isn't found out.

It's interesting how the fundamental premise of a musical can be predominantly how misunderstood and undervalued 'blondes' are and of even greater interest how successful and popular that particular piece of musical theatre can be. Legally Blonde the Musical is based on the novel of the same name by Amanda Brown and tells how sorority girl Elle Woods manages to enrol into Harvard Law School in an attempt to win back her ex-boyfriend Warner Huntington III and strangely finds that her unorthodox approach to legal process can actually benefit her career and win her friends who initially see her as somewhat of a joke. Lucie Jones much in demand as a leading performer after spells in Rent, The Wedding Singer and a previous run of Legally Blonde at Leicester Curve takes the role of little Miss Woods, Elle and with her magnificent stage presence and undoubtedly powerful voice an ideal choice she is to take the role. Adding comedy value and perhaps an unrecognised singing pro

Originally a novel, 'Goodbye To Berlin' by Christopher Isherwood written in the 1930s recounting his experiences in pre-Nazi Germany, adapted into a play, 'I Am A Camera' by John van Druten in the 1950s and eventually immortalised into the stage musical 'Cabaret' in the 1960s by John Kander & Fred Ebb. There is a rich history to the story of the seedy Kit Kat Club inhabited and ruled in a metamorphic way by the Emcee played in the current touring production by somebody who is so much more than a 'Pop Idol', the charismatic Will Young able to move from character to character with seamless ease whilst keeping a continuous rapport with the audience. Relationships are formed and broken, regularly due to external forces rather than incompatibilities, throughout the story. Front and centre are nightclub singer Sally Bowles (memorably played by Liza Minnelli in the 1972 movie) and American author Cliff Bradshaw seemingly brought together by fate and pla

One of the ever popular musicals for amateur societies and it's fair to say that there was very little that could be classed as 'amateur' about this production by a society with a major reputation and an accomplished cast and crew. Leading by example are Katie Taylor as Eliza Dolittle and Simon Theobald as Professor Henry Higgins, both exemplary performances in acting style, characterisation and musicality with facial expressions that enhanced the experience significantly for the audience. Comedy is not down to 'a little bit of luck' you can either be comedic or you can't and Ian Pottage certainly can as Alfred P Doolittle, ably assisted by Chris Sims as Jamie and Paul Johnson as Harry. This isn't really a laugh out loud musical but, one could certainly feel the rise of a chuckle when these three guys entered the acting area. Belying his true age, I'm sure, was Rob Harrison as Colonel Hugh Pickering, stiff upper lip, classical accent for an ex mili

It's difficult to know what there is left to say about this standard of musical theatre, little could Lord Lloyd Webber and Sir Tim Rice have known when they sat down back in the Swinging Sixties and produced something based on a story in the Book of Genesis that it would still be as popular as ever and touring on a regular basis. Taking the role of Joseph the Dreamer in the current tour is X Factor discovery, he of the mellifluous voice, Joe McElderry and it would be fair to say that he has stamped his mark on the role with a distinct likelihood that he will be asked back to perform it again and again over coming years. Joining Joe as the Narrator is another discovery from the world of TV in BGT's Lucy Kay but, at this performance however we were treated to the equally talented Anna Campkin who without doubt is giving Lucy a run for her money. With the songs tripping-off the tongue of every audience member we are taken along the rocky road that Joseph travels, disowned and

In the words of the song 'nice work if you can get it' and anything from George & Ira Gershwin probably fits neatly into that category and this little gem started life as 'Girl Crazy' back in the 1930s but, was revitalised with a new plot for a more modern audience, opening on Broadway in 1992. Current touring production has a Strictly Come Dancing flavour starring Tom Chambers as Bobby Child a whirling dervish of speech, song and dance, Caroline Flack oozing sexuality as fiance Irene Roth and the enchanting all round performance of Charlotte Wakefield as the hotly pursued yet hard to get Polly Baker. Bobby sent from New York to foreclose on a rundown theatre in Deadrock, Nevada by his domineering mother (played perfectly by Kate Milner-Evans) immediately falls for Polly the only female in this one woman town. In order to win the girl he comes up with the idea of putting on a show to pay off the mortgage, unfortunately Polly realises why he has originally come a

Bringing a bit of Christmas Cheer early to Birmingham (even before the Frankfurt Christmas Market descends) is the stage musical adaptation of the made for television film of the same name with songs to warm the heart and a polished cast including some prodigious youth actors who have no right to be that capable at such a young age. Telling the story of three childhood friends Paul, Jennifer and Gordon in Coventry all with pretencions of a career in the theatre are ultimately drawn to the teaching profession, after all if you can't act then teach. Paul and Jennifer strike up a relationship leaving Gordon spurned and compelled to use his tyrannical want to be more successful at the local posh preparatory school, Jennifer moves to Los Angeles to a role in Hollywood although not quite what she pitches to Paul who returns to his teaching role at St Bernadette's Catholic Primary School. In a moment of weakness Paul, played with empathy by Daniel Boys, who has been forced into di

For those that grew up with the music of the 1970s and early 1980s you couldn't fail to remember some of the meaningful lyrics and memorable melodies of Ian Dury and the Blockheads and this production manages to intertwine these with a touching story of life with a father dying from cancer. Valiantly leading the cast (on crutches) in the role of the central character Vinnie is Stephen Lloyd walking the fine line between narration from the outside in contrast to being a character on the inside and doing it well. His role is complimented by his friend and resident Ian Dury Expert in the form of Stephen Collins as Colin. Both drive the story along at pace and with great music and comic effect, no mean feat in and around quite a crowded but, effective stage area. Taking as one of his roles the part of the dying father Bobby is Gerard McDermott with impressive character play of a man slowly fading, already blind but, desperate not to lose his love for life and importantly music. As

Amidst a staggering array of makeup, shaved legs, vibrant colours, vivacious dance numbers, divas descending from the roof space and a character with an unusual use for ping pong balls is a masterpiece of a production from SAOS (Stourbridge Amateur Operatic Society) of Priscilla Queen of the Desert - The Musical. Let's not underestimate the complexity of this show, it takes a cast, crew and society with some ambition and drive to deliver this well and that is exactly what they do. Led by three dynamic actors in the form of the almost omnipresent Leon Davies as Tick/Mitzi, Mark Horne cornering the market in the more mature leading role as Bernadette and Adam Shaw teetering on the brink of outlandish with just enough outrageous as Adam/Felicia. For a spell of a couple of hours (which seemed far less) we are taken on the journey from Sydney to Alice Springs (some almost two thousand miles in real terms) in the company of these guys (or should I say girls !). Treated to their adven

One can never be sure exactly what sort of audience (size or responsiveness) that will appear on a Saturday Matinee, fortunately this one was particularly responsive even though not particularly large for the latest from the Craig Revel Horwood stable of productions, Son Of A Preacher Man based on the music of Dusty Springfield. I am always interested to know how keen the stars of shows are when it comes to matinees and my attention was even more aroused when all three of the household names here Diana Vickers, Debra Stephenson and Ian Reddington were absent for this performance, I must however say they were ably replaced by some great understudies. Straight out of the Jukebox Musical genre (with the added Revel Horwood touch of actors playing instruments on stage) this story centres around three characters all drawn back to a building in London that used to be a record store and was run by the musically knowledgeable 'Preacher Man', sadly he has now passed away and the sto

When it comes to being seen as a 'feelgood musical' there are many productions that could see themselves in that bracket but, Hairspray simply must be vying for the gold medal position. Despite what are contentious issues around the treatment of people based on, to name only two body image and race, it manages to fuel a rapturous reception from audiences from the first note to the final bow. Stepping-up and owning the role of Tracy Turnblad I was lucky enough to see Rosie O'Hare who surely deserves higher billing in future, joined by Edward Chitticks as (and I quote, which hits the nail of his performance on the head) the 'ever sparklin' Link Larkin. Matt Rixon is truly magnificent as Edna Turnblad and has built the perfect comedy partnership with somebody who does comedy as second nature in Norman Pace as outsized but, not overshadowed husband Wilbur, their duet of 'Your Timeless To Me' was perfectly comedic and frankly sublime. John Tsouras is perfec

Very popular production for amateur societies at the moment is the Monty Python inspired Spamalot a testament to the comic genius that is Eric Idle who is now appearing as God at venues all over the world, a feat I expect not many will achieve (don’t grovel, if it’s one thing I can’t stand it’s people grovelling). South Staffs MTC have managed to pull together a comical yet immensely stage seasoned team for their production, highlighted by the simply exceptional voice of Natasha Bennett Ince who shares the role of Lady of the Lake and probably should be vying for the same in the current touring professional production. All for one and one for all are a team of misfit Knights of the Round Table, Simon McGee as the proudly masculine (at least for most of the show) Sir Lancelot, Chris Dowen as the fiercely questioning Sir Gahald, Mike James as the fundamentally scared Sir Robin and Carl Cook, he of the ‘grand lapin en bois’ (that’s a large wooden rabbit to the uninitiated). Whether

There is always room for the classics in the musical theatre genre and My Fair Lady (the musical adaptation of George Bernard Shaw’s Pygmalion) is squarely in that bracket. Loved by many this can make it one of the more challenging productions to deliver successfully as it is known almost in minute detail by audiences but, BHMTC take that challenge head on. Stepping into the almost unfillable shoes of Julie Andrews and surpassing the performance of Audrey Hepburn in the movie (as this lady sings and well) is the scintillating Lucy Follows as Eliza Dolittle delivering all the intense characterisation required in a role on a transformational journey. Sharing the spotlight is the eloquent Tim Brown as ‘dialectician and grammarian’ Professor Henry Higgins, proud bachelor with a weak spot for this one woman. Cutting a fine figure as Colonel Hugh Pickering is John Leaman with all the traits of a privileged life in India and has one of my favourite lines in ‘Mr Brewster Budgeon please

Never thought I’d ever have to consider the impact of ‘star names’ and their inclusion in the cast of professional musical theatre but, it appears that may have to be a consideration based on the poor attendance at the Birmingham New Alexandra Theatre for the current Spamalot tour. It’s true there isn’t a household name in the programme but, there is a team of dedicated and talented actors who do more than justice to the screwball comedy antics of this production, written by Eric Idle and based on the comedy classic movie Monty Python and the Holy Grail. Bob Harms displays innate wit and charm as King Arthur, his ability to respond comically in any situation is second to none which allows him and Rhys Owen as Patsy to build a tightly knit on stage relationship. Johnathan Tweedie is intensely amusing as the rough, tough (yet ultimately nothing of the sort) Sir Lancelot amongst many other parts, I particularly enjoyed his portrayal of the enchanter Tim and his animated descri

Having seen this show on a number of occasions during the tour, I can honestly say it is one of the most blatantly entertaining productions I've seen for some time. Some of this reasoning is down to the 80s feel and reminiscing about a bygone and yet totally memorable era for those of us of a certain age. However much is also down to an uber talented cast, an amazing soundtrack and some skillful direction and choreography by Nick Winston. Jon Robyns is outstanding as Robbie Hart, a talented singer, actor and musician and delivers a top rate performance as does Cassie Compton as unavailable love interest Julia, another stunning voice. Ray Quinn is dynamic and strangely sinister as Julia's intended, the aptly named Glen Gulia (the Julia Gulia gag is a classic and Ray's deadpan expression while asking why that is funny is a masterful piece of acting). Proving that great actors just keep performing is the irrepressible Ruth Madoc as Robbie's politically incorrect gr

Hidden away in the darkest depths of Sedgeley is a venue that probably doesn’t get as much use as it should, currently converted to a tropical beach during World War II by West Bromwich Operatic Society for the Rodgers & Hammerstein classic South Pacific. Ensign Nellie Forbush (played with exquisite charm by Laura Stanford) strikes up a relationship with a man with hidden secrets, French plantation owner Emile De Becque (portrayed with panache by John Wetherall). Strangely the age difference and the fact that he’s running away from a murder in his youth are not the challenges Miss Forbush struggles with, rather his two children from a previous Polynesian wife, something that defines the era. Simultaneously Lieutenant Joseph Cable (George Stuart cutting a fine figure with an even finer voice) arrives on the island on a mission to provide key information to the allied forces to allow them to defeat the Japanese. He needs a man with local knowledge and De Becque is top of his

Who can forget the performance of the late Patrick Swayze in the movie of Dirty Dancing, the classic story of love between two highly independent souls from strikingly different backgrounds, Frances 'Baby' Houseman and Johnny Castle. Set in 1963 (cue an opportunity to tell the audience that mobile phones hadn't been invented) at the Kellerman's Resort in the Catskill Mountains, Baby and Johnny come across each other by pure accident and their relationship blossoms despite their differences and the opinion of the moralistic Dr Houseman. Lewis Griffiths as Johnny and Katie Eccles as Baby make an engaging pair that I would challenge any audience member not to take to by the end of the performance. Lewis is an expressive mover and manages to bring out the softer and more vulnerable side of Johnny which matches well with Katie's intelligent yet slightly repressed by wanting to please her father, Baby. Choreography is vital in any production and Gillian Bruce provid

Probably not the most performed of the musicals from Lord Lloyd Webber but, one with a great story and some of the most evocative music and lyrics is back touring the UK. Starting its journey as many do from Leicester Curve this is the story of an ageing silent movie queen (Norma Desmond played expertly by Ria Jones) who refuses to accept that her career is more a memory than a current reality. Danny Mac of Strictly Come Dancing fame and a spell at the Open Air Theatre, Regent's Park in On The Town stepping into the shoes of the dance maestro Gene Kelly has found his perfect role as screenwriter Joe Gillis, even managing to delight portions of the audience at one point with his well toned six-pack. Entranced into a restrictive and demanding world by Ms Desmond to help bring her new masterpiece to fruition and relaunch her career, he finds himself trapped in a parallel world until his love for another woman wrenches him free with fatal consequences. It's fair to say that t

You wouldn't expect to find anything depicting the barricades and sewers of 19th Century France in a Town Hall in the Black Country but, if you're lucky enough to get to that venue in Stourbridge over the next few nights, you'll see exactly that. What's more you'll witness the cream of local youth musical theatre talent take on one of the greatest musicals of recent times. Victor Hugo's epic novel originally published in 1862 and adapted for the world of the musical theatre by Alain Boublil and Claude-Michel Schönberg is probably not the easiest work to take on as a debut production but, Quarry Bank Musical Theatre Youth Society don't like easy and an amazing job they have made of it. From the opening scene with Jean Valjean (played commandingly by Ollie Hart-Bradford) finally managing to extract himself from the chain gang through to the final rendition of ‘Do You Hear The People Sing’ it is difficult to find a flaw in the performance. T

Every now and then you get that feeling of déjà vu with a show that it takes a bit of time to put your finger on and having not done a lot of research on Miss Saigon there was something recognisable that I just couldn't work out, then I saw the names Alain Boublil and Claude-Michel Schönberg. There are some obvious parallels between Miss Saigon and Les Miserables, both are epic pieces of musical theatre but, equally there is that feeling that there is more to it than that and less obvious connections. Let's take a brief moment to compare some characters and see if there is any similarities, perhaps The Engineer and Monsieur Thénardier or Kim and Éponine, I would challenge anybody not to see the connection. I guess if you find a winning formula and can adapt it to multiple storylines, why wouldn't you and there is no doubting the success of both musicals. Having seen both a performance at Leicester Curve and Birmingham Hippodrome I was lucky enough to see the mai

Definitely a hidden gem in the Leicestershire countryside is Kilworth House Theatre, in the grounds of the hotel sits a performance space that is covered but, still open to the elements and has been providing top class musical theatre for some years. Top Hat a stage interpretation of the classic Fred Astaire and Ginger Rogers movie with music and lyrics by the late, great Irving Berlin is the current production and considering I am not normally a fan of shows that are more focused on dance, this one had me enthralled from beginning to end. Fundamentally a story of mistaken identity as Jerry Travers (played flawlessly in voice and movement by Dan Burton) is mistaken by Dale Tremont (another awesome performance by Lauren Stroud) for the husband of her friend Madge Hardwick (a larger than life and domineering performance from Nia Jermin). In actual fact Madge is married to Jerry's manager Horace Hardwick (played with comic gusto by Charles Brunton) add to the mix Horace's bu

I find it hard to believe that Charles Addams when he first produced his cartoons for The New Yorker in 1932 could have imagined what was to follow, the TV Series starring Carolyn Jones and John Astin (who remembers John trying to control the Sharks and Jets in the Mambo Dance Off scene from the movie version of West side Story) strangely only ran for two seasons but, seemed like more and there have been two movies with all star casting. Not necessarily prime fodder for a musical but, with music and lyrics by Andrew Lippa that is exactly what has been achieved and a thoroughly entertaining piece it is, the current touring production is directed evocatively by Matthew White and is brimming with memorable moments. Heading the cast some stellar names in Samantha Womack and Les Dennis as Morticia Addams and Uncle Fester, both give immaculate portrayals of iconic characters that we all feel we know and prove that TV doesn't always give breadth to a performer as theatre can.