Musical Geek - Musical Theatre Reviews

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