Musical Geek - Musical Theatre Reviews

What is now a regular fund-raising effort for the Mary Stevens Hospice in Stourbridge this is a special production in so many ways and a talented team that bring another pantomime to the stage at Stourbridge Town Hall. After Wizard of Oz and Cinderella this year audiences are treated to the classic Aladdin created and performed by an outlandishly talented team that could easily be gracing the stage at much bigger and prestigious venues. Will Phipps as Director, James Totney as Choreographer and Rob Murray as Musical Director have conjured up a piece of entertainment that has everything and cannot fail to send an audience home feeling exhilarated and full of cheer. Will and James not happy with roles as part of the creative team have also decided to perform as Wishee Washee and Aladdin, Will is a born comedian and audience pleaser, his ability to keep a scene moving and react to any eventuality is second to none, James is more of the character player and movement coordinator, his skil

The tale of Ebenezer Scrooge and his journey from miserly old curmudgeon to enlightened lover of Christmas comes in many guises, this particular version with musical score by one of the great musical composers, Alan Menken is certainly gaining in popularity and takes full benefit of all the sentiments within Charles Dickens, A Christmas Carol. Vitally important in any interpretation is casting of the Scrooge role, get this right and you will probably have a hit on your hands otherwise and despite the endeavours of the other performers, you could be looking at something as dead as Jacob Marley. Fortunately Stephen Duckham as Director has enlisted the services of Alistair Jolliffe in the lead role and the first glimpse of his characterisation on the opening night at the Alexandra Theatre in Birmingham makes the whole audience realise that this is going to be a truly impressive production. Scene after scene of Christmas Joy (delivered incredibly by Stage Manager, Thomas Jevons and his

It’s always amazing the sheer volume of talent on the amateur musical theatre scene in the Midlands, I could be reviewing every night of the week and still not manage to see everything and it therefore comes down to taking a punt based on the shows I particularly like and anything from Stephen Sondheim is firmly at the top of the list. Leicester Theatre Group’s production of Sweeney Todd is finely tuned, incredibly performed and stunningly atmospheric, opening with a stage containing a solitary pie (probably filled with a little priest !) and culminating with a complete cast taking a rapturous curtain call, absolutely deserved across the board. George Pavey is an incredibly measured Todd, it isn’t about gratuitously accentuating the killing and the blood, it’s about calculating revenge and had he been able to dispense with the Judge at the first attempt it could have been a completely different story, suffice to say simply top class acting. Summer Garrett as Mrs Lovett matches her

It's not often you can say that there is a performance of cat-apultic proportions and it have a double meaning, so I have to take the opportunity to describe the Redditch Operatic Society production of Cats with just that word as it launches itself full throttle at an unsuspecting audience. Choreography by Paula Lacey is nothing short of incredible, not the largest stage, an extensive cast and yet at no point did any scene feel overcrowded, instead some visually stunning interpretations of T.S.Eliot’s poems. So to the performers about whom there is so much to extemporise as this is by no means your average musical, it needs something that bit greater in talent to deliver successfully. Whether it’s the sheer gymnastic athleticism of Jacob Finch as Mr Mistoffelees and Kirstie Boyden as The Rumpus Cat, the velvety vocals of Sophie Hill as Demeter and Laura Woodall in the iconic role of Grizabella or the pinpoint characterisation of John Reeves as Gus, Paul Mitchell as Rum Tum Tugg

One can only guess at what was going through the genius brain of Mel Brooks whilst writing 'The Producers' that pushed him towards a story about trying to make a 'Broadway Flop' and abscond with the disguised profits from the whole escapade. Now almost twenty years after it first appeared on Broadway itself the storyline seems so clear and strangely entertaining but, it must have been a risk with that level of controversial subjectivity and irreverence, perhaps this means that theatre is indeed exempt in some ways from 'political correctness'. St Augustine's Musical Theatre Company bring their production of this musical to the stage at the Solihull Core Theatre with John Morrison as failed Broadway Producer, Max Bialystock an outstanding performance of pathos, comedy and more facial expression than you can shake a big stick at. Partnering with Richard Perks as meek accountant Leo Bloom, a skillful portrayal of a flawed character with plentiful dreams but,

When I’m stuck with a day that’s grey and lonely, I’m always hoping that the evening will bring something enriching and entertaining on whichever stage I happen to be in front of and on this occasion that goal was resoundingly achieved with Trinity MTC’s production of the immensely popular Annie at the Dormston Centre in Sedgley. An opening scene populated by some quite forthright and yet captivating young ladies, led by Freya Poulton in the title role is a sight to behold, it would be too easy to focus on age and the fact that Freya is probably a little too old for the part but, she has a silky smooth vocal and an immense acting talent as within seconds I’d forgotten her age and was engrossed in her characterisation, let’s be clear that acting younger than you are is difficult, occasionally embarrassing and rarely done as well as this young actress. Other orphans with a conversational role building that effective picture of isolation and yet being part of a team that is just findi

Another theatre that has been turned-over to Argentina in the 1940s is the Concordia Theatre in Hinckley, Leicestershire as their resident company present a vivid and vibrant production of Evita to an appreciative audience. Much credit must go to Choreographer, Lisa Marsh, filling the stage with evocative Latin American dance, complementing and bringing to life the music from Musical Director, Sarah Bright and the finely tuned direction of the action from Director, Nanette Goodman. This is definitely not a circus but, very much a show designed to not only entertain but, to inform and educate, lofty ideals that are absolutely achieved, I personally found myself experiencing many emotions from smiling to crying, sometimes both at the same time. Principal character actors are nothing short of excellent, Emma Clift as Eva delivering controlled and clear vocals and appearing likable even when she is taking personal advantage of people and situations, Ashley Bright as a totally engaging

Let's hear it for the CHAOS Tour, well it might not be a tour but, it probably could easily grace other venues and in (almost) the words of the song, it's being an incredible success at least that is my view based on this performance. Let's be clear that Evita needs some considerable on stage presence and craft to be successful and inspiring, something it absolutely should aspire to be and that doesn't come without some innate skill from the whole team behind the production and some hard graft in the rehearsal room. Steve Humpherson (Director), Richard Lathbury-Howell (Assistant Director/Choreographer) and Chris Handley (Musical Director) have created something both inspiring and successful if the response from the audience is anything to go by, a delightfully smouldering piece of musical theatre that tells the story of Eva Peron through all the good and bad of her life and the impact she has on those around her. Starring as Eva, Liz Compton powers her way through s

In what is the 60th Anniversary of the original stage production of Rodgers & Hammerstein's 'The Sound of Music' it is I guess no surprise that many operatic/musical theatre companies have chosen this classic for their production in 2019. My latest viewing is currently running at Evesham Arts Centre and is the offering from Evesham Operatic and Dramatic Society transporting the audience back to those distressing days during the Nazi invasion of Austria but, made somehow tolerable by the engaging storyline and the musical elements we all know and love. Much I am sure to the chagrin of the adult cast, I have to say the Von Trapp Children (in this case Team A) are a group of little stars who light-up the stage both with individual character and team togetherness. I would normally give the prize for cuteness to whoever is playing youngest child Gretl and there is no doubt that Effie Howdle is an audience pleaser that evokes the appropriate reactions from the crowd but, sh

Probably recognised as a Jukebox Musical based on the Elvis Presley Songbook and full to the brim with recognisable tunes although it is strange to think that the cast will not have been born at the point these songs were released. Whilst that may be the case it doesn't mean that a youth cast cannot deliver a really compelling and entertaining performance, something that WBOS Youth Theatre certainly do to an exemplary level. Audiences are treated to an interesting storyline with multiple interlinking relationships, at times one might even wonder who is in love with who which poses a further challenge to the actors, one they absolutely have the measure of and one shouldn't underestimate how difficult this could be during a performance. At the centre of the story is heart-throb roustabout Chad (we never find his surname) and played with some panache by Joe Simmons, who arrives in a dreary little town only to be the catalyst to turn it upside-down. Arriving at a honky-tonk (fo

Whilst one of the most well known Musical Movies of the 1950s (1955 to be precise) Seven Brides for Seven Brothers is surprisingly rarely performed as a stage production on either the professional or amateur circuits and I suspect this may be down to the scary volume of choreography involved, whilst there are some timeless songs such as 'Bless Your Beautiful Hide', 'Wonderful, Wonderful Day' and 'Spring, Spring, Spring' it is probably the dance routines that it is particularly remembered for and that may lead to it not being a regular choice. Fortunately for the audience at Solihull Core Theatre this challenge does not remotely concern Director/Choreographer, Robert Bateman or Assistant Choreographer, Ellen Tozer (who both appear in the production as well, a frightening level of commitment and talent) and leads to an action packed performance, filling the stage to almost overflowing. Leading the cast are Richard Bateman as Adam Pontipee, eldest of the seven

Seemingly incredibly popular for societies in the Midlands currently, Rodgers & Hammerstein's 'The Sound Of Music' in its 60th year is undoubtedly a classic of the musical theatre genre and allows performers of all ages to contribute to the overall production. One can always rely on Nottingham Operatic Society to 'pull out all the stops' and deliver a spectacle that will live on in the memory and Dave Partridge as Director/Choreographer and Morven Harrison as Musical Director have done exactly that at the Theatre Royal, Nottingham. Settling into my seat I can see a sizable orchestra which is always a good sign and the opening 'Preludium' proves the power that such a group of musicians can create, then joined by a plentiful array of nuns, led by Kate Taylor as an exceptionally voiced Mother Abbess, burst forth with Latin Chants that really engage the audience attention. Abby Wells is a lively, energetic, bordering on feisty Maria Rainer, full of emoti