Musical Geek - Musical Theatre Reviews

There’s something terribly enduring about the story behind ‘Half a Sixpence’, poor guy inherits money only to lose his childhood true love, wins her back but, the money still comes between them and only when it is lost completely do they finally find that love again. If your heart can’t be wrenched and a tear doesn’t come to your eye at some point, it’s debatable whether you’ve really understood the storyline. BMOS Musical Theatre Company have created atmosphere and empathy by the bucket load, some expressive and intelligent choreography from Suzi Budd and expansive direction from Stephen Duckham make this a sheer delight from beginning to end, complemented perfectly by David Easto and his orchestra’s interpretation of David Heneker’s now incredibly well known score. On stage there is an impressive line-up of talent led by Daniel Parker’s totally authentic and entertaining portrayal of Arthur Kipps partnered with the golden voice of Annabel Pilcher as Ann Pornick, probably the huma...

Considering the major names like Cy Coleman, Bob Fosse and Neil Simon that are all connected to the various incarnations of the story of the 'girl who just wanted to be loved' its popularity for performance hasn't been widespread recently, perhaps due to the fact that the performances of Shirley MacLaine and Sammy Davis Jr in the 1969 Movie are so iconic but, Queensbridge MTS have decided to pick up the gauntlet and bring what is a very 60s vibe into the 2000s. What makes this production a hit from beginning is an effervescent performance by Sarah Odom as Charity Hope Valentine, giving Miss MacLaine a run for her money and with an engaging personality that just exudes 'likeable' and has the audience on her side from the first note played by Stephen Greenway's orchestra. Equally 'likeable' but, in a more reserved and endearing way is Sam Troke as Oscar Lindquist, he who coins the phrase 'Sweet Charity' and almost makes her dreams come true, on...

If there’s a particular musical that caused me to ‘get the bug’ for that specific genre, it is probably the 1952 movie version of Singin’ in the Rain, it might have been Cyd Charisse’s unfeasibly long legs, Donald O’Connor’s energetic and comedic performance of ‘Make ‘Em Laugh’ or the electricity between Gene Kelly and Debbie Reynolds but, something hooked me and I’ve never looked back, I blame my mother as it’s probably her favourite movie and she introduced me to it at an early age. Quarry Bank Musical Theatre Society are currently in final rehearsals of their production of this classic before they move into Brierley Hill Civic Hall for performances and I managed to catch one of those rehearsals, so let me caveat what I am about to write with the point that this is a ‘Rehearsal Review’, sadly I didn’t get to see the ‘rain’ (although I did think my offer to throw a bucket of water over Richard Cope as Don Lockwood in order to bring some reality to the scene was a generous one). Neit...

Of course ‘this is their story’ one of Coventry Musical Theatre Society taking on the musical version of what is now an entertainment juggernaut in its own right. Those with the burden of trying to stamp their individual marks on the story of the Big Green Guy, his Princess, his Donkey and the small in stature yet larger than life Lord Farquaad are Steve Boden and Jonathan Howes as Directors, Sue Biddle and Louise Redmond as Choreographers and James Suckling as Musical Director and as for the challenge, I think they got it beat ! Dan Peet is a big and bold, both in stage presence and with vocals, just as you would expect Shrek to be and he is complemented by a gentler and more subtly humorous Connor Clifford as Donkey, finally these two are morphed into a trio with Emma Wylde’s gloriously voiced and almost manic (after being locked in a tower for years) Princess Fiona. Craig Garner completely embraces the diminutive in body, yet exceptionally forthright verging on domineering in sp...

The opening line of the opening song in Lionel Bart's, Oliver! states 'Is it worth the waiting for ?' and had that lyric been written about this particular production, the answer would, I have no doubt, been a resounding 'Yes'. Filling the Mill Theatre in Sedgley with all of the classic numbers that theatregoers know so well, we are sucked back into Dickensian Times and the trials and tribulations of young Oliver Twist. Ashley Wilkes (Director), Joe Diggle (Musical Director) and Emilie Walters (Choreographer) have created an inspiring piece of theatre that not only entertains but, moves an audience in more ways than you might imagine. Riding the crest of this theatrical and musical wave is a splendid performance from Vicky Bull as Nancy, a sparklingly powerful vocal and some intense characterisation, lurching from strength to vulnerability as the story requires. Benjamin Burdall is the epitome of lovable rogue in the iconic role of Fagin and Pat Lewis is verging...

Ferocious feast of feline frolics are the words that come to mind when describing the West Bromwich Operatic Society production of Cats at the Wolverhampton Grand Theatre. Far from simple in any way and not your average piece of musical theatre the real plaudits have to go to Claire Flavell for not only appearing as Bombalurina but, also joint-choreographing what is an extensively dance performance a frankly remarkable feat, her co-choreographer and in the director’s chair (continuing the multi-talented theme) is Ben Cole, with the equally accomplished Adam Joy as Musical Director completing the team. Costumes and make-up are immaculate, reminiscent of professional versions of this show, one must therefore mention Amy Pearson, Craig Smith and Pat Badger who have transitioned people to cats as if by magic. On stage there an exceptional line-up of talent, dancing, singing and just stage presence whilst portraying cats, not humans, whether it’s Daniel Summers as an inspirational narra...

Probably one of the most enduring musicals from the joint talents of Andrew Lloyd Webber and Tim Rice which has probably been produced in more formats than any other and whether it is a traditional staging or as in this case from Solihull Theatre Company a more modern interpretation it is still as powerful and entertaining. Directed with some intensity by Andrew Johnson and with some insightful choreography from Amy Price and that potent rock musicality from Kevin Gill and his Orchestra this is a tour de force production that induces a maelstrom of emotions from beginning to end. David Steele is a perfectly cast Jesus with the exceptional vocal range needed to hit that high note in 'Gethsemane' and a lingering yet not overly dominant stage presence, Chloe Houghton is a hauntingly seductive Mary Magdalene with a husky entrancing voice that one can't fail to be intoxicated by and Dan Gough's range of emotion from angry to mortified as well as a powerful vocal (particula...