Musical Geek - Musical Theatre Reviews

Suspect this will be one of the very few pantomimes I write about this far into the early months of a calendar year and with all the delays forced on them by Covid-19 it's really amazing to see Norbury Players still packing them in at their home theatre in Droitwich. If you've ever seen the 1937 Disney animated version of this classic tale (it is that long ago!) you might have an image of Snow White in your head and you'll be surprised to see exactly that image on stage, Molly Hill is Snow White in every feasible way, not least of all a crystal clear vocal both spoken and singing in the vein of Adriana Caselotti who took on that challenge in 1937. If you have beauty on one side, you need something distinctly wicked on the other and anybody who wants to have our heroine killed and her heart cut out is iniquitous in the extreme, that being of course Queen Avarice and Melanie Brown greedily laps up all the 'boo's and hisses' that the audience can summon up (I am re

What is now a regular fundraising event for Mary Stevens Hospice seems to surpass itself every year and attracts not only some of the top local talent but, other well known names from across the UK. Crowned this year by the legend that is Beverley Knight, sadly not in person as her presence is required to star in The Drifter’s Girl in the West End but, in video form as the Magic Mirror. Honesty of course is required from the mirror in this tale and fortunately we get exactly that, much to the disgust of Queen Dragonella, a triumph of nastiness (yet with a far from nasty, melodic singing voice) from Jess Brooks (work out for yourself whether she or a much larger dragon called Brooksy is the more dragon-like). On the other hand our truly beautiful in looks, performance and singing voice, Snow White is a picture of nice no matter what she encounters by Lindsey Vickers. Taking the dame role to the next level is Wally Wombat as Nurse Fanny Annie and the rapport built with Will Phipps (as ou

Had you been one of the lucky few to see the one and only performance of Frank Wedekind’s play of the same name when it was performed in English, in New York, in 1917, I suspect you may well have been shocked by the gritty realism of the piece. Subjects like teenage sexual enlightenment, domestic parental abuse, homosexuality and abortion were rarely mentioned in those days, in fact were specifically hidden and cast into the abyss of denial. Spring Awakening the musical has added an emotional and thought provoking score to a drama that at times is an awkward watch but, is given stellar treatment by Obsidian Theatrical Productions (I did research the word ‘obsidian’ which is a volcanic rock) and there is much of the volcanic about this performance when one remembers that the power of a volcano is not what erupts but, what is seething below the surface. Robert Bateman as Director/Choreographer (not to mention a thoughtful and determined performance in the part of Melchior Gabor) and his

Virtually all of the musicals written by the late, great Stephen Sondheim are complex and have their challenges to bring to the stage, it is therefore to the distinct credit of the cast and production team when any performance feels uncomplicated and entertains to the utmost. Into the Woods is probably one of the greatest complexity, a sublime mix of classic fairy tale stories from Cinderella to Jack and the Beanstalk via Rapunzel and Little Red Riding Hood and this production from Dynamik Theatre is engaging and enthralling in equal measure. A marvellous atmospheric set, taking advantage of the relatively small dimensions of the stage at the Palace Theatre, Redditch, created by Katie Bonehill, Jake Taylor and Matt Evans coupled with some exemplary direction on stage from Jamie Poxon and in the orchestra pit from Graham Irving deliver something special to the audience. There are some incredible voices across the cast in what could easily be described as a 'singathon' of a score