Musical Geek - Musical Theatre Reviews

When you hear the trio Bernstein, Sondheim and Robbins by default one must think of the musical West Side Story, whether it's 1957 on Broadway or 1961 Movie. West Bromwich Operatic Society have brought an emphatic  production of this universally well known and liked masterpiece to the stage in 2018 under the intelligent direction of Simon Pugh, some impressive choreography from Steve Elias (ably assisted by Lisa Metcalfe) and flamboyant (much in the vein of Leonard Bernstein himself) musical direction from Adam Joy. Tom Fletcher is a confident and vocally polished Tony, playing opposite a winsome Jessica Williams as the somewhat overly protected Maria, they make beguiling star-crossed lovers in the true Romeo & Juliet style. Emma Wetherall is powerful both in the vocal sense and as the character of Anita, alongside a convincing and skilled performance from Matt Williams as Bernardo. Must admit to a double-take at Daniel Smith as Riff, having seen him only recently as Tony

There is something particularly enduring about Irving Berlin's White Christmas that it is difficult to put your finger on, whether it is all that snow, the captivating storyline or just the title track is probably down to the individual but, Redditch Operatic Society deliver a warm and entertaining version of what is very likely the ultimate classic. Tony Jay's exemplary direction, Paula Lacey's definitive choreography and Joe George's interpretation of Berlin's score, serve to provide something that not only entertains but, also engages the audience in what is a maze of stories that could very easily lead to confusion but, in actual fact leads to empathy with the relationship challenges and miscommunications that many will no doubt have suffered themselves. Whether it's the velvety tones of Paul Mitchell as Bob Wallace, the multi-talented Ryan Allen-Rose as Phil Davis, the delectable Laura Woodall as Judy Haynes or the enchanting Emma Samson as Betty Haynes

If you are looking for a 'feelgood show' it's difficult to look much further than Hairspray, now enshrined in the history of the musical be it stage or screen. St Augustine's MTC have managed to gather together a glittering array of voices and persona's for this production and Producer/Director, Veronica Walsh has weaved some magic on the stage at The Core Theatre, Solihull. You might have the voices and personalities but, can they move effortlessly around the set and continue to tell the story once the music starts, well they can and that must be down to some fluid choreography from Liane Hughes and the skilled musicology of Stephen Powell. Leading the on stage performances is the distinctly powerful voice of Naomi O'Borne as Tracy Turnblad and the deceptively soulful tones of Bryony Harrison as Penny Pingleton partnered respectively by Jake Reeve-Yates as a slick and 'ever sparkling', Link Larkin and a dynamically engaging Louis Simmonds as Seaweed J

L. Frank Baum's tale that proves there is 'no place like home' is a highly popular piece both on the professional and amateur stage and that is very likely because it has universal appeal, no matter what age or beliefs you might have. This particular production from Trinity MTC has its own appeal created by some captivating staging from Producer/Director, Andy Poulton and enhanced with some preeminent choreography from Lindsey Grant and some distinguished musicality from MD, Karl Babarczi. Casting is imperative as this story can inspire or dishearten on the back of the principal performances, it is therefore a delight to experience Lydia Tidmarsh's authentic and supremely vocalised Dorothy Gale, Kian Terry's captivating Hunk/Scarecrow (not once did I see the character slip), Wayne Butler's forthright Hickory/Tinman and Chris Dowen's endearing and emotional Zeke/Cowardly Lion. Focused characterisation, believable interaction and some significant singing voi

If the best things happen while your dancing, it's also true that some really great things happen in Stourbridge Town Hall on a Mid-November Evening, epitomised by this production of White Christmas, absolutely a classic and a heartwarmer to nicely build everybody up for the festive period. Irving Berlin knew how to write a musical and this is one of his best, brought to life by an accomplished cast, you won't see Bing Crosby, Danny Kaye, Vera Ellen or Rosemary Clooney but, you will see a leading cast of equal calibre. Adam Compton is a sophisticated Bob Wallace, Richard Cope a dashing Phil Davis and real life sisters Liz Compton and Salli Gage are deliciously entrancing as Betty and Judy Haynes, all four with perfect vocals and dance moves might have you blinking and wondering if you've suddenly drifted back to 1954 when the movie was released. Peter Goldsmith brings some military grit (with a soft centre) to the role of General Henry Waverly and a highlight performanc

If it is possible to associate the phrase 'the iconic musical' with any one specific piece, Jesus Christ Superstar is probably that piece and a musical from the stable of Lloyd Webber & Rice probably deserves that association. EODS have stuck pretty much to the standard approach to this story which has been interpreted in many ways over the years, probably a more modern costume approach than perhaps a true traditionalist might expect but, Director/Producer/Joint Choreographer Alison Roberts (in charge of her first musical) has delivered an effective and energetically dramatic production. Assisted ably with some choreographic input from from Gail Andrews, Kirsty McKay and Bethaney Rimmer along with Musical Direction of some exceptionally well know numbers by John Wood. John Dix plays Jesus in an intense style, right up to an emotional crucifixion scene and does complete justice to the notoriously difficult 'Gethsemane' number. Dean Bayliss is a cool and brooding

If you are expecting to see a group of Sheffield Steelworkers having been made redundant and taking their clothes off to the strains of Tom Jones's 'You Can Leave Your Hat On' accompanied by the sounds of a thousand screaming northern housewives, you might be slightly confused by the musical version which has been very much Americanised by David Yazbek and is now set in Buffalo, New York. Having said this the story is the same and revolves around the core characters of Jerry Lukowski and Dave Bukatinksy, out of work and losing all confidence as their wives are now the 'bread winners' and looking for a way to regain some independence and take back some control of their lives. Dominic Smith is a convincingly outspoken yet secretly scared Jerry, playing opposite a dominant Amy Frost as frustrated ex-wife Pam who has moved on and is keen to see Jerry take control of his future and do the same. Joseph James is the self-conscious Dave, wrongly concerned that his body

It’s beginning to look a lot like Christmas and this is the first festive production I’ve reviewed for 2018, the journey from bad to good that Ebeneezer Scrooge takes through this immortal tale from Charles Dickens never loses its appeal. There are many musical interpretations to choose from and this one with Music by Alan Menken and Lyrics by Lynn Ahrens is an increasingly popular one performed here at The Core Theatre, Solihull by St Alphege Musical Production Society (STAMPS). Only after the performance and reading the programme in a bit more depth did I realise what an important role Robert Bateman has taken in this production, not only as Director/Choreographer but, on stage as the jovial, larger than life Ghost of Christmas Present and in a nice little twist from the writers, alongside his other ghostly compatriots, within the ensemble chorus for many of the crowd scenes. Scrooge himself is played in quite reserved fashion by Richard Bateman, still as cantankerous as ever and

Probably the most recognisable of musicals the Book of Genesis set to music by Lord Andrew Lloyd Webber and Sir Tim Rice seems to be an increasingly popular option these days outside of the regular touring productions. Staging tends to be relatively basic and therefore much relies on the innovative skills of Director and Choreographer, in this case that innovation is engaging and superbly entertaining and the skills of Dave Partridge in both roles are obvious and abundant. Casting has led to the decision to share some of the lead roles, in particular Joseph and Narrator, we were privileged at the Saturday Matinee to experience Mark Coffey-Bainbridge and Louise Grantham two exceptional character actors and singers leading along the familiar story with some stunning vocals and stage presence. Other roles that in standard productions may well be shared are played by individual actors, including Simon Theobald's expressive Jacob, Ian Pottage's exuberant, Groucho Marx characteri

Well this is review 100 since I started writing seriously and frankly one I suspect I might run out of remarkable phrases to describe but, I'll do my best to do a superlative performance justice, one I can only imagine Charles Addams would have been justly proud to inspire. Music & Lyrics from a modern day great in the industry, Andrew Lippa and a book by Marshall Brickman & Rick Elice, the stage was transformed stunningly by Margaret Taylor and her Stage Crew into the strange surroundings inhabited by the even quirkier Addams Family. Having seen some publicity shots it wasn't obvious to me at first glance who had been cast as family leader Gomez Addams, I should have known better, there is only one person who could create that character in such a magnificent way, of course that is 'local stage hero' Leon Davies adding to a string of previous successes. As his vampish or should I say vampire-ish wife Morticia is the breathtaking Rachel Davies with a performanc

This review is dedicated to the entertainment phenomenon that was Mitchell Bastable who would have appeared in this production were he not taken from all those that knew and loved him way before his time. Always remembered, never forgotten, hoping you're up there looking down and still enjoying music and musical theatre as much as you ever did Mitch. As the words of the song go 'c'mon everybody take a real deep breath' and see if you can follow the multitudinous storylines in this musical, full of classic tracks from Elvis Presley woven into a tale loosely based on Shakespeare's Twelfth Night by Joe DiPietro. It's all credit to the direction of Doug Forrester and a talented cast that it isn't too difficult to follow the heavily interlinked relationship dramas that unfold, add to this some expressive choreography from Lucy Webb and Russell Painter's interpretation of songs that are well known to pretty much all of us and you have a night of engaging e

You could be forgiven for thinking that Top Hat is all about the dance and very little else, after all it is intrinsically linked with Fred Astaire and Ginger Rogers but, you would be wrong as there is a complex storyline, some highly comedic moments and a rich musicality to add to the movement which make this a strikingly all round piece of entertainment. Let's fast forward from Fred & Ginger in 1935 to South Staffs Musical Theatre Company in 2018 and Harry Simkin as a sophisticated and debonair Jerry Travers alongside Fiona Winning as a refined and polished Dale Tremont (forgive me for a small aside here but, I did feel I was looking at a young Grace Kelly every time I looked at and listened to Fiona, quite a startling resemblance). This partnership would probably give any a run for their money, both individually and as a pair the glided through every scene as if they were meant to be there. Roger Stokes gave a dryly witty performance as the much maligned Horace Hardwick

There is no doubt that most people will know and love the story of Peter Pan, there is probably a little of the 'boy who never grew up' in all of us but, I suspect many will default to Walt Disney Movie of 1953 when they open up those memories. This however is the Musical from probably one of the great modern day partnerships in that genre, George Stiles and Anthony Drewe. We are of course talking the same story, however a little richer, a little deeper and perhaps even a little darker in its interpretation, brought to the stage under the experienced direction of local theatre personality Tye Harris, ably assisted by Edd Caine as Musical Director and Anna Forster as Choreographer, a team that obviously know how to get the best from a cast and entertain an audience. We are taken along the journey to Neverland and back in the hands of a strangely ageing and darkly clad Storyteller, played in quite a haunting style by Nicola Howarth, only as the tale closes do we realise that

Lerner & Loewe's My Fair Lady I imagine will still be performed long after I stop writing about musical theatre and will no doubt still be entertaining audiences in the same way it always has, however it still needs an enthusiastic cast and crew to bring it to life and this production by Alcester Musical Theatre Company at Redditch Palace Theatre is very much in the traditional vein. Leading the on stage performances is an emotional, passionate and highly melodic portrayal of Eliza Doolittle by Millie Coles, an exceptionally talented individual with a voice that could easily grace any professional stage. Professor Henry Higgins is played with panache and verbal dexterity by Karl Willis alongside Jeff Gill as a wryly humorous Colonel Pickering, both actors bouncing off each other as a well oiled double-act when required. Jamie Glenn as love interest Freddy Eynsford-Hill delivers just the right level of besottedness whilst effortlessly vocalising the classic 'On the Str

There’s a level of professionalism in this production that makes me wonder if it really should be taken to a much wider audience, I would always hesitate to use a word like flawless, so perhaps let’s call it consummate and something that Emma-Jayne Gladman as Director and Hayley Gibbs as Musical Director must be exceptionally proud of, Rob Gladman’s set design additionally adds just the right atmosphere to proceedings. I’ve not been to the Hinckley Concordia Theatre before, it’s a little gem of a facility, somewhere I’d recommend more people, whether local or not, visit and if the standard of this show is anything to go by, you’ll not be disappointed with what you see. Jonathan Larson’s emotional story set in the poverty stricken East Village neighbourhood of Manhattan confronts many sensitive topics head on and this cast would rival any in handling all of the challenges in exemplary fashion, what makes it such a triumph is the acting and vocal skills which are quite simply of top-

After Les Miserables last year and finding out that Phantom of the Opera was the challenge for 2018, I seriously thought this society had 'bitten off more than it could chew', we are talking a difficult piece of theatre for even a highly trained adult cast and surely they can't surpass the exceptional standard from last year. Suffice to say I was wrong, because this is performance art that is beyond your average superlative, delivered with style and professionalism to a richly appreciative audience. Creatively bubbling away at the centre of this highly accomplished and intensely portrayed production is a triumvirate of formidable characterisations, Alex Cook's outstandingly powerful Phantom, Alex Cooper's vocally unparallelled Christine (that is a West End Voice and the last voice I said that about is now understudying Fantine in the West End production of Les Miserables !) and Oliver Keeling's sophisticated and charming performance as Raoul. Gifted performa

If patrons are traditionalist fans of this Cult Comedy Horror Musical then there might be some concern around a staging of Little Shop Of Horrors that breaks some of the previous standards but, since many would say that art is ultimately interpretative then nothing should be beyond the realms of possibility and Maria Aberg has created something just a little bit ‘left field’ with the assistance of some highly inventive set and costume design from Tom Scutt. Attention to detail is quite astonishing, particularly with some scaled down, typical New York City skyscrapers wheeled around by the ensemble cast in shopping trolleys and with costumes printed with the same run down city images. Even Mushnik’s Florist Shop is reduced in size but, is used to provide an array of settings and to house the plant itself, Audrey II is a vivid modern alternative to the super-size flytrap puppet that might be remembered from the 1986 Movie. Voiced by the sadly now departed Levi Stubbs (original le

Probably the epitome of a 'modern musical' but, still with some connection to a classic, 'In The Heights' is an early work from the now much renowned Lin-Manuel Miranda and there is no doubt that this laid the foundation for the now supremely successful 'Hamilton' but, in my mind it also has a feel of West Side Story about it. In this case the 'Heights' referred to is 'Washington Heights' a predominantly Hispanic-American populated area of New York City and the story is very much about community, family and friends highlighting the complexities of relationships. Muscom (Wolverhampton Musical Comedy Company) have chosen this challenging piece for their next production and I was lucky enough to be able to see the Final Dress Rehearsal which I have to say went incredibly well and can only bode well for the performances to come, Much credit must go to the production team who may not have realised quite what they had taken on but, have created somet

Back in September of 2017 one of my earliest reviews covered this production as part of a short run in Rowley Regis, I commented at the time that it deserved a wider viewing public and more performances. Well it's back on what is billed as 'The Sassitude Tour' and having already completed two performances at the Crestwood Theatre in Stourbridge, it's now taking up residence for a further two nights at the Blue Orange Theatre in Birmingham, an intimate venue that brings an even 'sassier' side out of the cast. Disenchanted by Dennis T. Giacino isn't your average story about princesses, these ladies aren't looking for a Prince Charming or a 'Happy Ever After' they're breaking out of classic 'princess mode' and telling it, loud and large, to the audience how that's not the reality at all. So if you're still lost in the way these stories are portrayed by the likes of Walt Disney, be prepared for something different but, equally (

It’s rare that what is probably one of the quintessential musicals is ever produced using anything other than the standard style and format and I guess it remains to be seen whether this colourful, dynamic and above all different interpretation is remembered for its differences, however it certainly should be as it sparkles in the open-air environment of the Kilworth House Theatre. Director & Choreographer Andrew Wright has reinvented the story from the Book of Genesis interlinking the traditional biblical piece with a more modern story of Joseph rejected as a child by his friends (rather than his brothers) simply for being different which addresses some wider modern life concerns. Matthew Jeans is a vibrant and confident Joseph, shadowed by (on this occasion) Isaac Williams from the Red Team of youngsters as Young Joseph, touching and engaging moments when the two lock eyes to sing some short duets at poignant moments throughout the performance. Shanay Holmes Steward is an e

Probably the least likely venue for this rather revealing musical, the intimate surroundings of the Old Joint Stock Theatre with the audience in close proximity must have been a slightly unnerving prospect for the male cast of the Full Monty Musical. However some inventive directing and choreography from Adam and Pippa Lacey allows action almost inches from the public to feel like a much larger and more expansive arena and a set consisting of just a small amount of scaffolding is transformed into a multitude of locations. Alex Wadham’s confident Jerry and Oliver Britten’s almost broken Dave build a deeply empathetic relationship at the centre of this story about deflated, out of work steelworkers in Buffalo, New York. Jerry’s idea to stage a male strip show purely to meet the maintenance demands of his ex wife is greeted initially with laughter and derision but, is ultimately destined for success as they build their team soon to be known as Hot Metal who will provide ‘the goods’ and

Having seen a number of productions at Chichester Festival Theatre, one knows one is always in for an amazing piece of entertainment, perhaps reimagined or reinterpreted but, always thoroughly enjoyable and this is no exception. One of the standards of Musical Theatre, Me and My Girl graces the stage this year and is an exquisite piece, directed with dexterity by Daniel Evans, choreographed graphically by Alistair David and delivered with great musicality by MD, Gareth Valentine. Matt Lucas (he of 'Little Britain' fame amongst many other triumphs and on stage after missing some preview performances due to a voice problem) is a loud and bright Bill Snibson, probably not an expected piece of casting but, a great decision from Casting Directors Andrzej Goulding and Charlotte Sutton. Matt is the sort of actor that can light up a stage and bring a production to life and coupled with a feisty Alex Young as Sally Smith they bring further pace and enthusiasm to this already energetic

One of the Cult Horror Musicals, the story of Audrey II, the man-eating plant with ideals to take over the world is a great piece of musical theatre and highly popular on the amateur circuit. Bromsgrove Operatic Society have managed to implant what is quite an exuberant show into the relatively small acting space of the Norbury Theatre, Droitwich. Craig Robert McDowall takes on the role of Seymour Krelborn, made famous by Rick Moranis in the 1987 Movie and brings some tuneful vocals and an effectively geeky persona to the character. Equally musically accomplished but, probably better described as ‘ditzy’ is Gill Rowland’s portrayal of love interest Audrey, the two make a heart-warming couple in a world around them that’s completely extraordinary. Probably the highlight performance for me is Dave Francis Williams as Orin Scrivello (DDS !), this is a role you can really lose yourself in and I believe that’s exactly what happened here, that demonic laugh can’t be a normal reaction.

If you aren’t aware of Jason Robert Brown, you’re obviously not a follower of a modern musical genre that is slowly but, surely increasing in popularity and being taken to a wider audience. One might have thought that choosing one of his lesser known works in ‘13’ was a risk for the first production of the youth section of Stourbridge Amateur Operatic Society and I might have agreed as I settled down in the slightly oppressive heat and the lights dimmed at Stourbridge Town Hall. What followed had to be seen, heard in fact experienced to be believed as a cast of obscenely talented youngsters blew the roof off the venue and elicited an exceptional response from the audience. Telling the story of a boy suffering parental split, a major locational move and the perils of becoming a teenager in a new environment, there are a considerable array of emotional ups and downs, not to mention a rich tapestry of individual characters to contend with along the way. Oliver Keeling’s performance in

So risking life and limb with a lively and impish Childcatcher, played with some considerable enjoyment by Mitch Miller, I took the journey to Vulgaria with a highly accomplished and talented cast. However let’s focus initially on the quite outstanding staging of a deceptively difficult piece of musical theatre, injected passionately with life by Director, Stephen Duckham and littered with exceptional dance numbers (the ‘Me Ol’ Bamboo’ and ‘Roses of Success’ pieces to name but, two that will live long in the memory) from Choreographer, Suzi Budd, not to mention some dynamic conducting from Musical Director, David Easto. Stage Managers rarely get a mention in reviews but, Thomas Jevons and his team really do deserve considerable credit for some complex scene changes and of course a hydraulic car that provides that audience wow factor. James Gordanifar is a gloriously understated and highly absorbing Caractacus Potts, central core of the Potts Family, consisting of Nick Owenford

Even before a note is played or a song is sung at the splendid outdoor venue of Kilworth House Theatre one is visually impressed by Philip Witcomb’s outstanding set that immediately transfers you to 1930s New York and tempts you in to those times to experience the stories of Damon Runyon first hand. Daniel Robinson’s comically nervous, bordering on hyperactive Nathan Detroit is diametrically opposed to a suave, sophisticated Sky Masterson portrayed by Simon Thomas and this works incredibly well and highlights the opposing facets of the gambler. Conversely both Harriet Jones as Sarah Brown and Holly Dale Spencer as Miss Adelaide despite different career choices have distinct similarities, both fighting desperately to win their man. All four of these characters are played with supreme confidence and stellar vocals, driving the story along to keep the audience engaged and entertained. Scenes in the ‘Save a Soul’ mission are authentic with just the right amount of tension with the

Quite regularly described as 'Sesame Street for Adults' it's unlikely that another show with quite the likeable irreverence and mockery of Robert Lopez and Jeff Marx's 'Avenue Q' will ever have the same impact both on the professional and amateur scene. Audiences simply laughing out loud at subjects that in any other medium might be classed as insensitive or unacceptable is a rare sight to behold but, I have to say a welcome one, proving that theatre can be used to portray something different to stereotypicality and still be entertaining. Norbury Players have grasped this opportunity with both hands and created a production that delivers that entertainment value in bucketfuls, whether it is Jake Jones's naive yet adventurous Princeton or Holly Christian-Brookes's energetic and sublimely voiced Kate Monster, there is superb characterisation across the cast, something particularly difficult to portray when that character is in fact a puppet. Those who

Considering the quite 'off the wall' storyline containing nuns, bar singers, cops and a slightly inept portion of the criminal fraternity, this Philadelphia based musical is probably one of the most entertaining for an audience. Taking its storyline from the Whoopi Goldberg movie of the same name but, with a completely revised set of songs, the stage musical version of Sister Act is now becoming a favourite of both professional and amateur companies alike. Queensbridge Musical Theatre Society have milked that entertainment value for all they can get under the formidable direction of Michelle Farugia, the dynamic choreography of Sophie Kowalewsky and some expressionful musical direction by Alice Brown. Turning the stage at Solihull Core Theatre into a melee of movement, drama and song that must hold appeal at some point for every member of a reactive and appreciative crowd. Leading the cast is Leonie Hamilton as Deloris Van Cartier with a controlled yet powerful vocal and so

So this is a review of Urinetown, not the place of course, the musical but, you’d probably gathered that, a strange and not particularly appealing title for a show from the combined pens of Mark Hollmann and Greg Kotis, set in a future world where water is rationed and there is a fee to pee (perhaps those with climate change on their mind might think we are heading for something not dissimilar in reality). From the opening exchange between Brendan Stanley’s authoritative Officer Lockstock and Charlotte Upton’s appealingly hyperactive Little Sally, there is want to play with the audience perception of what they might witness and whether the storyline is really acceptable for the musical genre but, as Lockstock states not all musicals have to be happy. Bobby Strong played with understated brilliance and a rich vocal by Nicholas Brady is the hero of the piece taking on both his slightly psychotic employer, Miss Pennywise (an exquisite piece of character acting from Helen Parsons)

Let me caveat this review with the fact that I have only been able to see a rehearsal without costume, without live music and without any light or sound effects that can add so evocatively to any performance. Having said that if my intuition is anything to go by (and it has never let me down yet) I would be inclined to take everything I am about to say and increase it by a factor of ten as those missing pieces to the greater jigsaw of this production can only make it so much stronger as an audience pleaser. Ken Wragg the mastermind behind the concept has taken the lives of two music icons and created a story that gets under the skin of who they really were, delves into the recesses of their generally tempestuous relationships and attempts to reveal why both were challenging characters (with notoriously short tempers) to live and work with, yet equally successful in their careers. It's difficult to think of two names that in the opinion of the average person would bear few if an

There’s something strangely enriching about the old standards of musical theatre that still hold their own in a modern world. Bringing back memories of the 1967 Movie starring Tommy Steele, although the stage production had graced the West End in 1963, this interpretation by Solihull Theatre Company stays true to the original and benefits from stylish direction by Terry Wheddon and some captivating choreography by Pauline Elliker. Leading the way on stage with an energetic and charming performance as Arthur Kipps is Chris Johnstone who creates an entrancing relationship with Lizzie Stainton who delivers a perfectly restrained and thoroughly working class Ann Pornick, in total contrast to the aloof, aristocratic Helen Walsingham, played equally superbly by Meghan Doheney. Some divinely ‘over the top’ antics from Dan Gough as the eccentric Chitterlow providing a juxtaposition with the other male role model in the life of Kipps, the fierce Mr Shalford played with great assurance by Pa

One of the old faithful musicals that's still as relevant and entertaining as the day Harold Gray's 'Little Orphan Annie' jumped from the pages of the New York Daily News on to Broadway in 1977. It's a credit to Kinver Light Operatic Society as a collective and to the undoubted skills of Director/Choreographer Adam Partridge that they have been able to bring the relative confines of the stage at Kinver High School to life with a production equally compelling. Spearheading a talented cast is Anna Watkins in the title role, a challenging character for anybody and embraced with some classy acting and stellar vocals. It seems unfair not to provide a mention for a team of orphans played by some prodigious youth talent, a group of girls who during their ensemble scenes lit the stage up, I'll be surprised if we don't here something special about one of these names in the future, Natasha Mitchell (an uber confident Molly), Katie Tranter, Scarlett Moreton, Neve Pil

Amazing how one of the most prolific world disasters can make such an intense subject for a musical which is a testament to the diversity of the genre. If you’re expecting anything particularly outlandish to further dramatise what is already a ‘heart thumping’ event you’ll be disappointed but, if you’re prepared for a rich piece of storytelling with some evocative songs, this will be just the show for you. There are some key themes throughout the production, not least of all the power struggle at the top between owner, builder and captain all vying for supremacy. It’s hard to know whether to like Simon Green as owner J. Bruce Ismay, is he a visionary businessman or just looking for public notoriety as he piles on the pressure to push the vessel to extremes ? Is Captain Edward Smith, a stoic performance from Philip Rham, purely looking for a final golden voyage before retirement and succumbing to the demands of Ismay rather than focusing on the safety of his passengers ? Finally has b

Turning the relatively confined space of the Palace Theatre, Redditch into the wide open plains of Oklahoma is a feat in itself and one that Studley Operatic Society have managed to achieve in a really convincing way and much credit must be given to Andy Witcombe and his, no doubt, extensive team in making that transition such a seamless one. Gracing the stage with some faultless acting and two striking voices are Paul Mitchell as Curly and Sophie Hill as Laurey, certainly leading from the front and followed with equal aplomb by Alex McDonald-Smith as Will Parker and Jessica Horabin as a bubbly Ado Annie. Matt Bridgewater strikes an imposing figure as the misunderstood Jud Fry, a piece of intense characterisation that leads to a really accurate portrayal. Hugh Duck brings the comedy element with an entertaining performance as Ali Hakim, reminiscent of Eddie Albert in the 1955 movie version. Liz Bird as Aunt Eller and Allan Recardo as Andrew Carnes bring that mature grounding piec

Considering just how difficult this show is to produce successfully and how challenging everything from casting to performance can be, West Bromwich Operatic Society prove again that they are at the top of their game by creating an entertainment spectacle of dynamic proportions. Considering the last time I saw Tye Harris he was directing in jeans, sweatshirt and a beard, it's a testament to the diversity and talent of the artist that he is now performing in an array of costumes and singing up a storm with an emphatic performance as Tick/Mitzi. Equally John Wetherall is making the matriarch role of Bernadette his own and there is a performance of outrageous effervescence from Zac Hollinshead as Adam/Felicia. It doesn't however stop there, performing and singing on the stage itself requires a certain skill and aptitude but, to do so when flown in on wires from above, expects something more from performers, Niamh Allen, Sarah Moors and Tasheka Coe as the Divas have that extra

In the words of the song ‘if I had money to burn’ I’d probably spend a portion of it on more tickets to see this classic interpretation of ‘Half a Sixpence’ regenerated by Warner Brown with words and music by David Heneker but, with as much stage appeal as ever. Enhanced further by some stunning choreography from Lindsey Grant, exemplary direction from Alf Rai and feelgood musicality from Dan Tomkinson this is a show that can’t fail to please any audience due to a touching storyline, catchy musical numbers and a cast that quite obviously are enjoying every minute of the experience. Will Phipps is probably as close to the real Arthur Kipps as I have ever seen and has talent in abundance be it acting, singing or dancing, the on stage relationship between Will and Abbie Rai as Ann Pornick (another sublime voice to listen to) is completely natural as if they had known each other for years. Bring on the boys, James Totney (Sid), Matt Wirtz (Pearce) and Simon Williams (Buggins), part