Musical Geek - Musical Theatre Reviews

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