Posts with the label uk tour
Showing posts with label uk tour. Show all posts
Showing posts with label uk tour. Show all posts
Thursday 16 November 2017
Mamma Mia (UK Tour) | New Oxford Theatre | Review
Mamma Mia (UK Tour)
New Oxford Theatre
Reviewed on Wednesday 15th November 2017 by Michelle Pont
★★★★★
You don’t have to be an ABBA fan to get caught up in this wonderful show now showing at the New Oxford Theatre. Full credit to the talented performers who, with boundless energy, dance and sing their way through the show, giving life to the music and story line.
This performance, originally from London’s West End, really shouldn’t be missed by any musical lover. Choreographed to perfection, by Anthony Van Laast, it’s a pleasure to see every movement being part of the performance. Stage sets are danced in and off with seamless effort.
The boys in the ensemble and Louis Stockil as Pepper and Brad Veitch as Eddie take the show as eye candy. They manage doing some amazing acrobatics including impossible leaping press-ups, high kicks and exceptional dance moves. The extra bonus was their display of their bare chests and muscles. Hot stuff!
Stand out performances were from Kay Milbourn, as Donna. She punched out some wonderful songs. Her performance was natural and believable. Watch out for her rendition of ‘The Winner Takes it All’, which she sings with such conviction and meaning, managing to bring a tear to my eye.
My other stand out performance was from Jamie Hogarth playing Harry Bright and singing ‘Our Last Summer'. Jamie’s performance is of course wonderfully acted and he has a lovely voice. And of course, the brilliant performance of Rosie by Gillian Hardie along with her side kick Emma Clifford as Tanya. Gillian put her soul into the performance and won the audience with her comic portrayal. Emma strutted the stage giving her character the panache it deserved and keeping the comic timing and performance well heeled.
Christopher Hollis’ portrayal of Bill Austin, an Aussie rough neck was excellent. His accent was faultless and in fact I thought he was Australian. His performance also was faultless. The whole cast are brimming with talent. The Orchestra didn’t miss a beat and were also outstanding.
A standing ovation was given at the end of the show and it was well deserved. Two encores were fabulous which saw all six main characters dressed in the iconic sparkly ABBA jump suits. I can’t help but think they all enjoyed wearing and performing in these outfits.
No matter what you think of ABBA’s music, this show puts meaning to their songs and crafts an enjoyable night of entertainment- get yourself there! The tour is performing around the country 2017/18 so there is still time to catch it. Praise to all involved in this production.
Mamma Mia runs at the New Oxford Theatre until November 25th before continuing its tour.
Photo credit: Brinkhoff M Âgenburg
Wednesday 8 November 2017
Cilla (UK Tour), New Wimbledon Theatre | Review
Cilla (UK Tour)
New Wimbledon Theatre
Reviewed on Tuesday 7th November 2017 by Olivia Mitchell
★★★★★
I have to admit, unlike many, I didn't grow up with Cilla Black. I knew a few of her hit songs but until an hour before seeing the show, had never seen an episode of Blind Dates so despite having heard good things, I was a little dubious as to whether this would be the show for me. I'm pleased to report that my doubts were uncalled for, as the show is spectacular.
This new production chronicles the Merseyside National Treasure's rise to fame accompanied by the hits of not only Cilla herself, but the other bands of the time. This is a unique take on the jukebox formula which instantly won over the audience of older people reliving the hits they grew up with and the younger generations alike.
Whilst many jukebox musicals are an excuse to perform hit songs with little storytelling, Cilla has Jeff Pope's stellar book to accompany it. This allows us to become invested in the show and performances rather than just waiting for the next song. With moments of drama, light and shade, there's really something for everyone and the show provides a well rounded theatrical experience with a depth not often seen in jukebox musicals.
As the lead, Kara Lily Hayworth becomes the Liverpool lady and heart of the show in a faultless performance from start to finish. Expertly embodying Cilla's iconic speaking voice as well as her vocally tough songs, Kara becomes Cilla and has the audience wrapped around her finger from start to finish. Her performance of the demanding role is certainly a memorable one and I can't commend her more highly for her stunning portrayal.
The Beatles and their manager Brian Epstein (Andrew Lancel) feature majorly in the show and give wonderful and iconic performances. The costumes, voices and mannerisms of each person are done to a T and you almost forget you're watching a tribute to these artists and not them live in the flesh!
As Cilla's devoted companion, Carl Au gives a charming performance throughout. His vocal performances are worth the wait when in act two he sings a delightful rendition of 'A Taste of Honey' overall he is endearing and a joy to watch.
The supporting cast are wonderful, especially Cilla's parents who deliver some hilarious one-liners throughout. Mention must also be made of the set design by Gary McCann which is striking and seamless in moving us from the Merseyside Club to Abbey Road to the London Palladium just to name a few.
Cilla Black was a woman of the people's hearts and a National Treasure who will always be remembered for her stunning voice, wit and charm. This musical does the perfect job of remembering her and chronicling her life in a glitzy and exciting but truthful way. Whether you're a massive Cilla fan or not, this show will certainly provide fantastic viewing!
Cilla runs at the New Wimbledon Theatre until November 11th before continuing its tour.
Thursday 26 October 2017
Son of a Preacher Man (UK Tour), New Theatre Oxford | Review
Son of a Preacher Man (UK Tour)
New Theatre Oxford
Reviewed on Tuesday 24th October 2017 by Michelle and Aaron Pont
★★★★
The present meets the past in Son of a Preacher Man, where 3 lonely hearts go in search of an old record store in Soho, which, during the 1960’s, the legendary Preacher Man was famed for giving out his words of wisdom, a cure to everyone’s ills. Our lonely-hearts are also in search of Love
Upon finding the old record store, and the son of the Preacher Man, they are heartbroken to see that it is now a rundown, sad café, with none of the spark or life they were expecting. The son of the Preacher Man (Simon) is still living above the café, and with pressure from the lonely-hearts trio, tries to channel his late father’s spirit to help them find true love.
I found myself whisked back to the 1960’s, with the wonderful music of Dusty Springfield performed so well in this cleverly crafted show.
The Cappuccino Sisters are a delight, a trio of waitresses suitably attired in ‘over-the-top’ 60’s gear, tulle skirts, short-suits and flamboyant headdress, they conjured up images of roller-skating waitresses from 60’s milk bars, especially Cassiopeia Berkeley-Agyepong. They strut their stuff about the stage, playing a range of musical instruments, singing and dancing to the ambiance of the show and taking us back in time.
This is a very impressive addition to the show; rather than having the musicians in the pit, they are a part of the show. Showing off their musical and performance skills throughout.
On the night I was there, understudy Jess Baker took the role of Kat to a high point with an outstanding performance. All credit to Jess with her fabulous accent and beautiful, powerful voice. Michael Howe as Paul was also mesmerising, with his great dance moves and wonderful voice, not to mention his prowess on the guitar. Both were, for me, the standout performers.
Look out for the wonderful rendition of ‘I Don’t Know What To Do With Myself’ sung and danced with chairs. Yes, chairs. The harmony and movement in this song was wonderful.
Also, standout performances were Lewis Kidd’s rendition of ‘You don’t have to say you Love me’ and Ellie-Jane Goddard and Michael Howe’s rendition of ‘Spooky’, with Michael on guitar. How dare they all be so talented!
The whole show ‘Unleased the Monster of Love’. Great singing, choreography, stage setting, lighting and topping it all off with wonderful songs made so famous by Dusty, who was almost an Oxford local (lived in High Wycombe), so it is a fitting tribute to her. There were only one or two forgivable missed moments in the script, but that was nothing compared to the fabulous performances. How could you not want to see a show with Dusty’s fabulous hits as inspiration?!
Go and see it! It’s brilliant!
Son of a Preacher Man runs at the New Theatre Oxford until October 28th before continuing its tour.
Monday 23 October 2017
In Conversation With... Peter Becker | Interview
Peter Becker is currently starring in the UK Tour of War Horse and is the first German person to play Friedrich in the show. He sat down with me to discuss the show and his role...
Can you tell us a little bit about the rehearsal process for War Horse?
Can you tell us a little bit about the rehearsal process for War Horse?
On the first day of rehearsals I was seriously overwhelmed by the sheer scale of things. We were rehearsing in a massive industry complex at Morden Wharf in London and I could not quite get my head around the enormity of the undertaking. There are so many people involved in creating the show! The actual stage floor was already installed, we were immediately provided with all the necessary props and costumes. It felt like stepping into a whole new universe. I was invited to improvise with both horses in order to find out how to interact with them. Since the puppeteers knew everything about the anatomy and the natural behaviour of horses it all felt very natural. Like the audience I totally forgot they weren’t real horses I was dealing with in the matter of minutes. As the horses will solely react on the tone of our voices and the way we move I started speaking German to them. It was very interesting to learn that it didn't matter what language I used, they still understood my intentions and reacted accordingly. The attention to detail and the love that has been invested by the National Theatre is immense.
During rehearsals we had a visit from the Imperial War Museum, providing us with in-depth information. We visited the King's Troops, who answered all questions about the military handling of horses. We had military training, shooting lessons, went to several exhibitions and prepared presentations on the First World War from English, German and French perspective.
What’s the most challenging part about bringing this story to life?
What’s the most challenging part about bringing this story to life?
In Germany actors are mostly hired to play repertoire shows as a permanent cast member with one particular theatre where as over here it is common to play one show with a company every night. I first had to adapt to the different system. In addition, it is very challenging to interact with the horse puppets. On one hand it is very easy to believe they are real as they are so brilliantly manipulated, on the other hand you have to be technically very precise in order to achieve certain effects. Funnily for me the most demanding part was speaking English with a very strong German accent. I am half an Englishman and have a much less pronounced accent in real life. When playing, I got confused at first. It was very interesting to determine how different my brain works when I have to switch back and forth between the two languages. I feel a little delayed sometimes because I will often translate mentally before I react. My voice also sounds different when I speak English I believe.
Can you explain a little about your character?
When introduced at first, we get to know Friedrich as a high-ranking German military officer - shortly after capturing English soldiers. The challenge is to give the "enemy" - from an English perspective - a human face. In the course of the story, Friedrich will lose his beliefs in the concept of war and thus question his entire life. From a dramatic point of view, he reflects Albert's development in a nearly mirror-like manner: Whereas Albert continues to harden, Friedrich, in his desperate desire to defend his humanity, continues to soften through his experience in the war. What binds the two characters together is their unconditional love for the horses.
Besides yourself, which actor in the production is going to blow people away?
I have the privilege of being part of an outstanding ensemble. It is unbelievable what talented actors our Casting Director Jill Green and Director Katie Henry have gathered to bring this enormous show to life. It is merely impossible to emphasise individual colleagues at this point as War Horse is a true ensemble play with everyone contributing equally to it’s success.
You’re the first German Friedrich in War Horse, what’s the experience been like? Do you feel an extra pressure taking on the role?
It is very exciting in many ways to meet this challenge. In Germany, the First World War is completely overhauled by the reprocessing and remembrance of the Second World War. Because of the Germans' war guilt, there is no collective mourning of the dead, we have no equivalent to Remembrance Day. Only in recent years have there been attempts to tell the differentiated history of German soldiers. I too grew up with the image of the unscrupulous murderer, who would literally stop at nothing. Now having the opportunity to give the German soldiers a human face is a great responsibility which stirs me every evening anew. It is important to point out that we are all human beings with the same fears, hopes and needs, especially in those times when we seem to be moving farther and farther apart. Besides, I am very much looking forward to perform before my English family for the first time. My aunts, uncles, cousins and grandcousins have so far only seen me on TV, never on stage before...
What do you think makes War Horse so special and lasting?
To me War Horse almost represents a deep psychological inventory of the British nation. The songs put together by John Tams and performed by Bob Fox are deeply rooted in the DNA of the British people - partly going as far back as Celtic times. The story has a universal character whilst, very concretely taking place in a time that characterises Great Britain to this very day. The unspeakable suffering and the social upheavals, caused by the First World War, which interestingly is called The Great War over here, have in the most brutally possible way ushered in modern society. The audience is invited to witness the transition from 'innocent' country life to technologically alienation. Through the identification with the horses those unconscious experiences are being made accessible again. I believe it is a very cathartic experience for a lot of people.
What do you think will people be saying as they leave the theatre?
No more wars, hopefully.
If you had a magic wand, which show would you do next?
The place in Germany I come from (interestingly founded in the Middle Ages by an English monk from Malmesbury) is home to the largest German open-air theatre festival - the Bad Hersfelder Festspiele. There I saw a stunningly current version of Cabaret last year. The piece has accompanied me since I was 15 as it was the first I ever performed in. Ten years ago I also had the chance to play the role of Ernst Ludwig in Vienna. I would very much like to have the opportunity to bring the time before the Nazis took over to life in English-speaking countries because there are so many obvious parallels to our present time, which I would love to explore - preferably in the role of the M.C.
If you could travel back to any era, when would you go to and why?
Last year I had the opportunity to play in an exciting new series, which will soon be broadcast in England on Sky and in America on Netflix. It is called Babylon Berlin and like Cabaret it is set in the period of change between First and Second World War. An incredibly ambivalent era between joy and despair. A hysterical time in which a whole society is living on the edge. If I had the chance I would love to go back to the Twenties in Berlin to experience what people felt and how ultimate freedom could turn into repression so easily.
Finally, what’s your best piece of advice for aspiring performers?
Our profession is increasingly internationalising. I am personally experiencing just how enriching it is to work in another country at the moment. In this respect, I would advise young actors: Travel as much as you can, learn different languages, the world is great and the possibilities are more diverse than ever before!
Thank you so much Peter for chatting with us! Make sure you catch War Horse on it's UK Tour.
Interview by Olivia Mitchell, Editor
Thank you so much Peter for chatting with us! Make sure you catch War Horse on it's UK Tour.
Interview by Olivia Mitchell, Editor
Thursday 19 October 2017
War Horse (UK Tour), Bristol Hippodrome | Review
War Horse (UK Tour)
Bristol Hippodrome
Reviewed on Wednesday 18th September 2017 by Isobelle Desbrow
★★★★★
On the 10th anniversary since their first show, I was lucky enough to go and watch War Horse. The play is emotion filled and the stunning story telling through the music and ensemble work make the show a must see.
The first act tells the story of Albert training his horse, Joey who we see grow from a foal, to a riding horse, to a farm horse and finally to a war horse. Joey is controlled by 3 puppeteers: the head, heart and hind. This allows the puppet to mimic and move as if it were a real horse, something that is not easy by any means. Bob Fox’s spectacular folk voice helps tell the story through music,adding the perfect amount music to accompany the drama onstage. The cast are amazing as they all play multiple characters but if I hadn’t have looked throughly at the program I would never had known, as each character on stage had a different accent and characteristics. This show truly highlights the amazing work that can be produced by an ensemble cast.
Thomas Dennis as Albert brought the perfect mix of innocence and will to fight for what he believes in: saving and bringing Joey home from the war. His portrayal of Albert was emotional and moving he deserves credit for his acting talents.
At the end of the first act we see the beginning of the war and Albert going off to find Joey. These scenes were powerful, compelling, honest and emotional, showing the audience another aspect of World War 1, which I had never seen before.
Something that I haven’t mentioned yet but is off massive importance for the story telling aspect of War Horse is the large projection on to a cloud above the stage; throughout the story, drawings and animations are shown. This adds another dimension to the story, and without spoiling the show for those who haven’t seen it without these images the story wouldn’t be as complete.
Act 2 is spectacularly beautiful and sad. We are shown both the loss on the home front and the front line. However instead of just being shown the fighting aspects we are also shown how the Germans used the horses to move machinery around and pull carts, we follow Albert and Topthorn on their journey through France and whether or not they get the happy ending they deserve. We also see the cruel side when the horses go lame they are no longer required, something that although normal is still shocking to see.
“The puppets in the show are only wood, however it is our imaginations that make them real.” This is how the play was described by Tom Morris at the end of yesterday’s special 10th anniversary show, and I believe this is the perfect way of describing the complexity and beauty of War Horse.
I don’t want to give too much more away but if you have the opportunity, go and watch War Horse- it is not to be missed.
Tuesday 10 October 2017
Five Reasons to See Legally Blonde on Tour
Last night I visited the New Victoria theatre to see the UK tour of Legally Blonde. Seeing as I've already seen the show and reviewed it here, I thought I'd do a bit of a different post and tell you some of my top reasons to see it.
The production is great and all my thoughts were pretty much the same during my second viewing; the only difference was that Rebecca Stenhouse was playing Elle. Whilst I'm not re-reviewing I have to talk about Rebecca for a little bit. Her debut performance as Elle was completely outstanding, her voice sounded beautiful and she perfectly embodied the role. If I hadn't known she was the understudy I would have noticed zero difference or nervousness; Rebecca owned the stage and won over the audience with her heartfelt performance.
So now my moment of gushing is over, lets get on with the reasons to see the show...
It's Feel-Good Fantasticness: Legally Blonde is brilliant because it's exactly what it claims to be: a feel good, pink and positive show. So many shows I've seen recently have been depressing or try and be dramatic, moving or life-changing so it's really a breath of fresh air to see something fun and lighthearted. You'll leave the theatre smiling and feeling great- what more can you ask for?
Dogs: Need I say more? Who doesn't love a cute little pup scuttling across the stage? Whilst they're not in the show a lot, their moments in the spotlight gain "aw's" all around and are as cute as can be!
The Music is Crazily Catchy: I think Legally Blonde is a pretty underrated musical, I don't really hear people talking about it much, but they should! The music is catchy, upbeat and has so many witty lines. There are various styles and so many wonderful vocal moments. You'll definitely have the tunes stuck in your head.
The Performances are Brilliant: A great show with rubbish performances is pretty pointless to see, luckily they're fantastic in this production. I've gone into detail in my review but the cast are super strong and very attractive as the larger than life characters. Especially great is Helen Petrovna's 'Whipped into Shape' which makes me out of breath just watching!
It Has Lots of Heart: The story of Elle following her man to Harvard and realising she's more than a typical Malibu blonde is sweet and heartwarming. The romance, drama and humour makes you root for the characters and provides a fantastic night out.
So there (right there!) we have five reasons to see Legally Blonde. To sum up, it's a fun, lighthearted, brilliant show which you will definitely enjoy. As the days get shorter and colder, Legally Blonde is precisely the pop of warmth and light that you need.
Legally Blonde runs at the New Victoria Theatre until October 14th before continuing on its tour.
Wednesday 4 October 2017
Sunset Boulevard (UK Tour), Edinburgh Playhouse | Review
Sunset Boulevard (UK Tour)
Edinburgh Playhouse
★★★★
Sunset Boulevard is a thrilling ride through the film industry of mid-century America, filled with the song, dance and cultural ephemera of the era. It’s an intoxicating spectacle that is both entrancing and, in parts, exhausting.
The production takes place in Hollywood on the cusp of the 1940s and 1950s. The show’s intermission pointedly falls at a New Year’s party in 1949 in a manner symbolic of the story’s main theme of the passing of one era to the next.
The time period and location is a particularly rich seam for the set design which, especially in the opening moments, is a flurry of transitions. The audience is taken from the gates of Paramount studio to production lots, writer’s rooms and soundstages in the space of a matter of minutes. Furthermore, artifacts of film production are woven intelligently into the set throughout. One driving scene in particular employed footage of busy Los Angeles streets projected behind the protagonist’s vehicle while shadowed cameramen revolved around him in a way that recalls the early special effects of the time. It could easily have been confusing, the fact that it wasn’t is testament to the care with which each aspect of the set had been considered.
As one might expect given the story, the music throughout the show was constantly evocative of the period and brilliantly performed by the band. One aspect to note is that your enjoyment of the show may in part depend on how you feel about Andrew Lloyd Webber, who supplies the music in the production and isn’t always for everyone.
Danny Mac as protagonist Joe Gillis was well cast and particularly excelled at both the breezy 50s dialog exchanged with members of the supporting cast and his rendition of the title song ‘Sunset Boulevard’. Predictably a cheer went up around the hall as the actor, who appeared on Strictly Come Dancing, danced a tango. His interaction with romantic interest Molly Lynch as Betty Schaefer was a touch lacking, but this relationship is not really the centrepiece of the story and as such both the songs and dialog were a little perfunctory. Special mention should be given to both the singing and acting of Adam Pearce as Max Von Meyerling, who deflty straddled the line between chilling and endearing and very nearly stole the show. However Ria Jones as the needy and demented Norma Desmond was superb throughout, delivering a deeply poignant performance.
Flashdance (UK Tour), New Wimbledon Theatre | Review
Flashdance (UK Tour)
New Wimbledon Theatre
★★★
Based on the 1983 film (which I've never seen), Flashdance is the story of Alex Owens, a welder who dreams of being a dancer but has had no formal training. She plucks up the courage to apply to the prestigious Shipley Dance Academy and also meets a new love interest on the way who just so happens to be the boss' son.
There are a number of side plots, like the mechanics facing jobs losses, Gloria being drawn into a seedy drug filled world and her boyfriend Jimmy attempting to make it as a comedian in New York but these feel a little unnecessary. They're obviously added in to pad out the show but I felt it would have flowed better without them as they're not explored enough to add much.
But lets be honest, people don't go to Flashdance for the plot. They're there for the big money numbers and nostalgia for the classics they remember, something which the show certainly provides. The instantly recognisable 'Maniac', 'What a Feeling' and 'Gloria' have the audience excited and invested whilst most of the other songs are not particularly memorable. That's not to say that the vocal performances aren't brilliant though. Ben Adams gives a strong performance as the misguided, rich boy, Nick Hurley. His popstar vocals are not those typically heard in musical theatre but they work well in the show and his his rendition of 'Enough' was especially good.
Joanne Clifton is outstanding as Alex. Obviously she's known for her dance skills but seeing them life and with so much energy is spectacular to see on stage. Vocally she is also strong and her acting stood up well within the cast and she is a very solid lead. I was particularly impressed by Hollie-Ann Lowe who showed a number of sides to Gloria as well as some lovely vocal moments. A special mention must go to Colin Kiyani (Jimmy) who's voice is beautiful and I got major Ben Platt vibes during 'Where We Belong'.
Matt Cole's choreography is definitely the highlight of the production; tight and sleek throughout it provides some wow moments of impact. One thing I didn't like was the use of click tracks during some of the ensemble dance numbers such as 'I Love Rock and Roll'. I completely understand how demanding it is to do the energetic choreography at the same time as singing but it just felt a little obvious to me and could have been covered up more. However, the performances were still great.
This is definitely a feel good musical, whilst it does look at some darker themes, they are definitely not what you focus on. It's more of a drama with music but the energetic and sharp performances are enough to draw you in and will certainly leave you tapping your feet!
Flashdance runs at the New Wimbledon Theatre until October 7th
Tuesday 3 October 2017
Dreamboats and Petticoats (UK Tour), Theatre Royal | Review
Dreamboats and Petticoats (UK Tour)
Theatre Royal, Brighton
Reviewed on Monday October 2nd 2017 by Melodie Hornett
★★★★
Dreamboats and Petticoats at Brighton’s Theatre Royal was a joyful explosion of fun from the start. No long overtures, just a brief setting of the backstory before immediately coming to life with upbeat music from the whole cast. The set was vibrant and made excellent use of the space available on-stage whilst overcoming the lack of wing space seamlessly. The bumper cars used in several scenes worked brilliantly, operating smoothly, really indicative of the era and setting, and looked like the cast were really enjoying themselves. Carole Todd’s effective choreography worked very well, demonstrating skill whilst maintaining the authenticity of the setting.
Alistair Higgins and Elizabeth Carter were well matched in all areas as Bobby and Laura, vocally they blended well, they played an idyllic and convincing couple who looked great together. A particularly beautiful moment was their rendition of ‘Let It Be Me’. Alastair Hill could have done a little more with his representation of Norman, perhaps a little more arrogance was required to define him however he demonstrated a powerful voice that was well suited to the repertoire. Laura Darton’s Sue was superbly portrayed, with her strong vocals demonstrating a rich and powerful tone whilst her obvious dance ability and vibrant sex-appeal made her incredibly satisfying to behold. Vocally she shone out in ‘Shakin’ All Over’ and ‘Sweet Nothin’s’. Her sidekick Donna played by Gracie Johnson was a pleasing character with some delightful moments adding to the action of the leads. Again, she was well matched with on-stage partner Ray, played by David Luke, who presented some entertaining comic action with a solid voice which carried well over the band. Jimmy Johnston played a very likeable Phil, an ageing voice that still has some fantastic money notes, particularly in 'Shop Around’.
There was something truly exciting about the actor-musicians interchanging between their roles in the live, on-stage band and characters within the story. It was seamlessly done and great to see such an array of talent - these were a team of performers strong in a number of stage disciplines. Consistently solid performances from all cast. Chloe Edwards-Wood competently took the spotlight a number of times with her energetic saxophone playing. She and Lauren Chinery made a charismatic sax duo, but credit to all band members.
The main criticism of the show for me was audio balance; the instrumentalists sounded fantastic throughout, however at times some of the vocalists were lost in the audio mix due to having thinner-toned voices. Whilst being enjoyable to listen to in the more intimate moments, Higgins, Carter and Johnson were frequently difficult to make out when the band was in full swing. I felt that there could have been more vocal diversity amongst the cast, rather than what felt like a collection of similar sounding voices.
This was a show that the audience clearly enjoyed from the start, with patrons singing along and tapping their feet to familiar tunes. It had a real feel-good factor and a pleasing plot conclusion. The energy from the cast in the finale sequence was at a peak and they interacted well with their audience at this point, getting everyone on their feet. A really great night out for all.
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