Musical Geek - Musical Theatre Reviews

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

Probably one of the most complex plots and librettos from Stephen Sondheim but, equally one of the most enthralling and entertaining as some classic fairytales are intertwined and the consequences of the characters wishes and wants are explored in some cases to an endpoint that perhaps isn't exactly what was expected. Central to this tales are the Baker and his wife, currently childless and wishing that would change, Michael Staiger has obviously researched the part of the Baker well and his lilting voice both in singing and speaking mode is ideal and complemented by the stunning vocals and innate characterisation of Lynsey Squair as his wife. Sadly their quest for a child is hampered by a curse placed on their family by the Witch, played enthusiastically and with much expression by another lady with an exceptional voice, Laura Fullelove, considering the part, it is difficult to know whether to love her or hate her and that confusion is down to a well played piece of acting.

Must be something about the gritty realism of the North or that triumph over adversity, never say die attitude of its people that makes great theatre and the latest of such stage masterpieces comes in the form of this multi-faceted piece about the decline of the shipbuilding industry in the North East with music and lyrics from the pen of one Gordon Sumner, better known to the public as Sting. Hailing from that area himself there is undoubtedly some heart and soul and level of personal understanding that allows the songs and narrative to interact and merge with each other in such a seamless way as to appear as one throughout the whole production and I imagine there were a multitude of emotions which led to this happening. Casting has moulded together a team of stage artists that obviously feel the story as well, Joe McGann is the passionate shipyard foreman Jackie White, ultimately falling prey to terminal illness but, leading his team of equally vehement colleagues to the bitter e

The tragically short life of glam rock star Marc Bolan is the subject of this intense and dramatic piece of theatre, brought to the stage by the directorial hands of Gary Lloyd, a not inconsiderable task considering what an important part both Bolan and T-Rex play in the history of British Popular Music. George Maguire assumes the mantle of Marc Bolan, once quoted as being ‘the last of the great pop stars’ after originating the role of Dave Davies from The Kinks in ‘Sunny Afternoon’ and it’s easy to see why he is sought after to play rock stars, I imagine if he wasn’t playing them, he would be one himself as he has all the attributes. Filling what can only be described as considerable gaps in the life of Bolan was June Child who became his wife and ultimately his widow, played with some great insight and emotion by Sarah Moss and joined by the soulful voice of Caroline Ellena Vincent as Gloria Jones latterly his partner and mother of his only child, son Rolan (also unfortunately dr

Definitely at the height of popularity for amateur societies is Eric Idle’s creation from the annals of Monty Python, the strange but, oh so entertaining Spamalot and this production from Peterbrook Players at the Solihull Core Theatre is one to be reckoned with and marvelled at by audiences. In a reverse of my normal review style let’s talk about the extensive supporting cast who all add something to the overall performance, not least of all a team of polished dancers under the expert choreographic direction of Suzanne Ballard-Yates. It’s very easy to fill a stage with chorus members who add little to the central action but, in this case there is a part to play for everybody and it all leads to a richer performance experience thanks to Richard Agg’s accomplished direction. Andrew Alton’s fortitudinous King Arthur and Gregory March’s comically downtrodden Patsy provide the central core around which this bizarre story is woven. Assembled around Arthur’s ‘very, very, very round tab