Musical Geek - Musical Theatre Reviews

If you're a connoisseur of Stephen Sondheim you could easily be confused by the junior (or should I call it youth) version of his fairytale musical (jointly written with James Lapine), which seems to completely remove a large portion of the storyline and perhaps even the moral to the tale which fundamentally suggests that we should all be careful what we wish for as even if we get it, it might not be quite what we had expected. What makes this particular production work however is the sheer depth of talent on stage and the way an inventive multi-level set from Eleanor Field is utilised to the full by Director, Siobhan Cannon-Brownlie and Choreographer, Jessica Vaughan. Central to the plot are Matt Hilton's strong performance as the Baker and Rose Caldwell's incredible voice and sheer acting presence as the Baker's Wife, challenged by a Witch, played with supreme confidence by Phoebe Lewis to find a number of items in order to guarantee themselves a child. In paral

Over recent years Sister Act has been a very popular show for amateur societies, Willenhall Musical Theatre Company have however let the initial rush of interest die down which was probably a shrewd move as it avoids continual comparison with other productions. However were comparisons to be made I can’t imagine anything other than favourable if not prodigious responses for a show that right from the first note has nothing but, professionalism stamped all over it. If it isn’t Alf Rai’s impeccable direction, it’s Lindsey Grant’s totally entrancing choreography or Gladstone Wilson’s animated interpretation of what is fast becoming a well known and loved score. Laura Autumn Rai is a vibrant and powerfully voiced Deloris Van Cartier and is surrounded by an equally well voiced principal cast, probably just edging the voice of the night award is Abbie Rai as Sister Mary Robert provoking an eruptive audience reaction with her rendition of ‘The Life I Never Led’. Juliet O’Brien is a do

Fred Astaire once said 'If it doesn't look easy it is that we have not tried hard enough yet' and if there is any truth in those words from the great man himself, there is no doubt that Tab Operatic Society have tried exceptionally hard with their production of Top Hat. Highlighted by two dazzling performances from Michael Astley as Jerry Travers and Fleur Petford as Dale Tremont, I guess if Fred and Ginger are looking down from some dance floor on high they would be particularly impressed by both. Continuing the story of notable performances are John Nicholas as an effortlessly comic Horace Hardwick, Sarah Oliver-Field as his dryly witty wife Madge and Stephen Homer as their loyal valet Bates, I could almost imagine all three rattling around together in some country mansion, slowly driving each other to distraction. Jack Humphreys is suitably elaborate and flamboyant as dress designer Alberto Beddini, throwing everything he has into the ‘Latins Know How’ number and rec

It's not often that I begin a review by complimenting the video action but, this particular production uses some innovative visual options to complement the set which works really well, although timing is absolutely key something that (I believe based on programme detail) Mat Spencer almost perfected and based on complexity could be forgiven for an occasional blip, supported by The Core Theatre Technical Team and and interaction with a busy Stage Manager, Adam Tullett and his backstage crew. Continuing with the offstage names, there is some exceptional (truly so) choreography from Suzanne Ballard-Yates, polished direction from Richard Agg and professional musical direction from Chris Davis, this is a really engaging and visually stunning (let's not forget Caroline and Melissa Bickerton's outstanding array of costumes and the seamless transition the actors made from one outfit to another) piece of musical theatre. Joining the list of performers to make the part of Elle W