Musical Geek - Musical Theatre Reviews

Whether it’s the brilliance of the writing partnership of Lloyd Webber and Rice, the memorability of the story and virtually every song within or the authentic and exemplary nature in which the current cast bring that story to life, there is something for everybody in this touring production of Evita. Directed by Bob Tomson, choreography from Bill Deamer and credit for musical direction shared between Tim Whiting and David Steadman this is a production for the purist. Why would anybody want to lose the appeal that is generated by the highs and lows, even the personal trauma of the Eva Perón Story, a strange narrative that probably doesn’t immediately shout out as a subject for musical theatre but, works so well. Firmly a member of the exclusive ranks that have played the part of Eva and reprising the role this year as if she has never stopped playing it is Madalena Alberto who along with the dashing yet earthy performance from Gian Marco Schiaretti as Che and an arrestingly formida

Always a night to look forward to when Sondheim is on the menu even if the dish of the day might be Shepherd’s Pie peppered with actual Shepherd on top as part of the musical masterpiece that is Sweeney Todd - The Demon Barber of Fleet Street. So attend the tale, on this occasion brought to life by Walsall Operatic Society. There are vast challenges with Sondheim, not least the complex score and libretto but, additionally how to make what is hardly a joyous tale entertaining for an audience and this cast under the direction of Tim Jones managed to pull that particularly challenging feat off with some considerable success if the audience restrained but, audible vocal response was anything to go by. Richard Poynton is an imposing figure with an equally impressive voice as vengeful barber Todd and his interaction with a skilfully entertaining Steph Coleman as an ebullient Mrs Lovett is ultimately the driving force behind the show, I specifically enjoyed the ‘A Little Priest’ number

Settle down at the Rose Theatre, Kidderminster lately and you’d be forgiven for thinking that you had slipped back to the flapper era of the 1920s. In actual fact you have as you enjoy the sparkling production of Thoroughly Modern Millie brought to the stage by Kidderminster Operatic and Dramatic Society. Director Pat Scully has moulded a high class performance from a cast of undoubtedly inspiring local talent, add some prominent choreography from Hannah Kearns and some interpretive musical orchestration from Chris Passey and you have all that's required to completely entertain an audience for some two hours or more, taking them back to a day when life was certainly less complex than today. Leading the cast in the role of Millie Dillmount is Attiye Partridge, it's hard to tell if the role is just perfect for her or if she is perfect for the role but, whichever the case it's a piece of exquisite theatrical performance in every way and only a shame that the impending prof

Becoming almost as loved and as well known as the Wizard of Oz itself, the story of the Witches of Oz is back touring the UK again and is highly likely to play to full houses if response from the current venue, Liverpool Empire, is anything to go by. Spectacular and with probably one of the most engaging stories are just two ways to describe the journey that Elphaba and Glinda take in the period prior to Dorothy Gale appearing on the scene in Munchkinland. I am sure there have been a plethora of artistic talent that has allowed audiences to immerse themselves in something so engaging, not least of all the music and lyrics are from an icon of the genre in Stephen Schwartz and the writing from the genius pen of Winne Holzman but, much of the 'wow factor' has to be attributed to the scenic design of Eugene Lee and the costume design of Susan Hilferty which combine to make 'Wicked' as visually stunning as it is. Assuming the not inconsiderable mantle of the 'strikin

Sadly this musical play from the pen of Alan Jay Lerner and Frederick Loewe is probably one of their least performed pieces and is likely remembered as much for the 1969 Movie with Lee Marvin and Clint Eastwood as it is for any stage performance. Attempting to redress the balance the Liverpool Everyman Theatre do an awe inspiring job, everything from Gemma Bodinetz's influential direction, through Tom Jackson Greaves's inventive choreography to George Francis's striking orchestration has the audience captivated from beginning to end. Based during the California Gold Rush the story tells intertwining tales that reveal how something that appears so quickly and is so initially enriching can disappear equally quickly and leave many with nothing, additionally how the 'battle of the sexes' has changed so radically over the years. It is hard to single out specific performances for praise as this is so much a collective piece but, it is fair to say that Patrick Brennan

Still resident in the West End, the musical based on the classic Roald Dahl book with music and lyrics by the obscenely talented Tim Minchin opened its UK Tour at the Leicester Curve Theatre this week and to say it has been worth the wait to see this show outside of London would be the understatement of the century. Matthew Warchus's supreme direction and Peter Darling's inventive choreography are complemented aesthetically by some outstanding design elements from Rob Howell and all contrive to bring about a tremendously entertaining spectacle. Debuting in the title role at this performance with some undoubted confidence and talent, that I only wish I had at her age was Annalise Bradbury who produced a performance and some stunning vocals that can only be described as magnificent. This is all the more exceptional considering the depth of youth talent that exists within the cast, including a virtuoso performance by Elliot Stiff as Bruce leading the 'Revolting Children'

Another of those truly iconic musicals is My Fair Lady, the musical adaptation of George Bernard Shaw’s Pygmalion with music by Frederick Loewe and lyrics by Alan Jay Lerner. Knowle Musical Society’s production team has created a faithful rendition of this well loved piece with some classic direction from Dani Godwin, fresh choreography from Rachel Sproston and a sincere interpretation of the score from musical director Chris Davis. This isn’t one of those shows that is crying out for major differentiation, sometimes just doing it as it was meant to be done is exactly the right thing to do. Taking many of the plaudits has to be a stellar performance by Sophia Bailey as Eliza Doolittle, from both an acting and singing perspective she has captured the essence of the role and doesn’t put a foot wrong. Surprisingly the other shining light for me is a much smaller, yet still vitally important character, Simon Chinery’s performance as Freddie Eynsford-Hill is exceptional, he has a stunning

It's true to say that there are many well known and well performed pieces of musical theatre, however there are probably only a handful of truly iconic shows, one of those has to be the Romeo & Juliet inspired West Side Story with music by Leonard Bernstein and lyrics by Stephen Sondheim. If you are going to take that one on as a production you have already set the bar stratospherically high with numerous stage interpretations and a movie that almost the whole planet must have seen at least once, such a challenge has been accepted by Tab Operatic Society in their latest offering which I thankfully managed to catch the final dress rehearsal of at Stourbridge Town Hall. After recent critical acclaim on stage, local theatre legend Leon Davies takes the director's chair this time and weaves a smouldering web of emotions from the performers. Choreography can only be from one person, that's the one who as I glanced to my right on various occasions is living every well craft

Slightly modernised in setting and costume but, still sticking to all the traditional appeal of this    classic piece of musical theatre from Andrew Lloyd Webber and Tim Rice, the team from Lupin Theatre Co. tell the time honoured story of the last weeks of Jesus Christ with powerful and emotional acting, singing and dancing orchestrated by some innovative direction from Magz Page, alluring choreography from Angie Astell and that edgy rock feel from the musical direction of Rob Norman. In what is a highly male dominated set of characters the voice and moving stage presence of Ellie Davies as Mary Magdalene shines out which is a particularly outstanding achievement when up against the accomplished vocal and physical talents of Jon Ranwell as Jesus and David Ball as Judas, all three drive the performance along with pace and enthusiasm. Paul Roberts puts in a commanding performance as Roman Governor, Pontious Pilate, Mike James adds some comic appeal as a clownish King Herod, Alex Cat