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 15 March 2018
Cilla (UK Tour), Bristol Hippodrome | Review
Cilla: The Musical (UK Tour)
Bristol Hippodrome
Reviewed on Tuesday 13th March 2018 by Isobelle Desbrow
★★★★
Cilla: The Musical is a refreshing and fun new musical about the life of the one and only Cilla Black. Just a few years after her death it lovingly remembers her life as a singer and tv presenter.
Kara Lily Hayworth is a breath of fresh air; her wonderful characterisation of Cilla along with her strong Liverpudlian accent and blissfully wonderful singing voice would do Cilla proud. Her rendition of ‘Anyone Who Had a Heart' which drew he first half to an end is a performance I’ll never forget. With a flawlessly clear and powerful voice it really did give me goosebumps!
Kara Lily Hayworth is a breath of fresh air; her wonderful characterisation of Cilla along with her strong Liverpudlian accent and blissfully wonderful singing voice would do Cilla proud. Her rendition of ‘Anyone Who Had a Heart' which drew he first half to an end is a performance I’ll never forget. With a flawlessly clear and powerful voice it really did give me goosebumps!
The second act opened and was met with tears, laughter and applause. Unfortunately I’m unable to give a full review of the second act as there were 2 medical emergencies. However what I can say is that when the cast returned to the stage they were met with yet more applause. The whole cast were spectacular in closing and finished with a standing ovation.
It was wonderful to see so many different tributes to amazing bands and singers on the stage in one night, that thanks must go to the exceptionally talented musical director Scott Alder who managed to make The Pacemakers', The Beatles' and Cilla Black's music flow seamlessly.
This was a wonderful production, I only wish I had time to watch it again! All the cast and crew should be incredibly proud of themselves not only for their performances, but also for being able to end the show in such spectacular fashion even after a break.
Cilla runs at the Bristol Hippodrome until 17th March before continuing it's tour.
Wednesday 14 March 2018
The Sound of Music, Palace Theatre | Review
The Sound of Music (UK Tour)
Palace Theatre
Reviewed on Tuesday 13th March 2018 by Becca Cromwell
★★★
The Bill Kenwright production of The Sound of Music has embarked on another UK tour, but this time with Lucy O’Byrne and Neil McDermott at the helm. Based on the 1959 Rogers and Hammerstein musical of the same name, the film became one of the highest grossing films of all time.
The well-loved story shows Maria Rainer, a young Postulant at the Nonnberg Abbey who is sent to be the Governess for the Von Trapp Family after not fitting in at the Abbey. It is there that she meets Captain Georg von Trapp and his seven children Liesl, Friedrich, Luisa, Kurt, Brigitta, Marta and Gretel. During her time as Governess, the Anschluss begins where the Germans invade Austria, and the second act of the show depicts the struggles and changing moods during this time.
Lucy O’Byrne is known for becoming runner up on ITV’s The Voice in 2015 and landed the role of Maria in the previous UK tour of this production. Since then, O’Byrne has gone on to play Fantine in Les Miserables in the West End, and has now thrown herself back into the iconic role of Maria von Trapp for the 2017/2018 UK Tour. Originally played by Julie Andrews in the 1965 film, she has big boots to fill. The vocals were impressive and her portrayal of Maria was fantastic. It was well acted and believable.
Neil McDermott plays the Naval Captain Georg von Trapp, who after the death of his wife lost touch with his children. McDermott is known for playing Ryan Malloy in BBC’s Eastenders, amongst many other theatre roles. With a strong voice, McDermott gave a fantastic performance.
A stand out however, was Megan Llewellyn as the Mother Abbess. Her voice was absolutely astounding. Even though she does not make too many appearances in the show as the Reverend Mother, you certainly knew about it when she did.
The child cast were superb, providing incredible vocals for their ages. They were true professionals from the beginning through to the end and I hope to see them go far in their careers. The rest of the company all gave very good performances, leading to a fantastic performance of the show.
I was pleasantly surprised with the production, and it deserved a bigger audience than the one it got. I would recommend seeing this when it comes to a theatre near you in the future, as it is a highly enjoyable family show.
The Sound of Music UK Tour unfortunately comes to an end this week; however I hope to see it tour the UK again in the next few years.
Birdsong (UK Tour), New Victoria Theatre | Review
Birdsong (UK Tour)
New Victoria Theatre
Reviewed on Tuesday 13th March 2018 by Steve Willox
★★★★
This excellent performance warranted a viewing full house, however this was not to be, with only approx 150 seats occupied at Birdsong's opening in Woking.
Rachel Wagstaff has cleverly adapted Sebastian Faulks' novel Birdsong into a thought provoking play. The play takes place mainly on the Western Front in France during World War I (1916 - 1918) but intertwines back to 1910 in Amiens where we meet Stephen Wraysford before his involvement in the war.
A well designed set allowed for the easy movement from 1910 to World War 1 to pass effortlessly. Enabling us to see, through flashbacks, Stephen's memories of the love of his life, Isabelle. Low lighting gave a feeling of life in the trenches and also highlighted when there was an explosive moment of gun fire and shells.
A small but skilful cast, playing many different roles, brought Faulks's novel to the stage in an emotional and moving way. Tim Treloar gives a soul-stirring performance as Jack Firebrace; eager and intense when rallying his mates whilst tunnelling under enemy lines, but sad and emotional at the death of his son. The rest of the cast were also adept at bringing this moving and evocative novel to the stage.
Whilst initially this may not have been our first choice of theatre viewing we are so very glad that we went. A beautiful love story, inter weaved with the horrors of war. We would thoroughly recommend this production of Birdsong.
Birdsong runs at the New Victoria Theatre until March 17th before continuing it's tour.
Tuesday 13 March 2018
Hairspray (UK Tour), Edinburgh Playhouse | Review
Hairspray (UK Tour)
Edinburgh Playhouse
Reviewed on Monday 12th March 2018 by Michèle Duck & Viv Conway
★★★★★
The funny, daring and radical story of Hairspray truly dances to its own beat. After the last curtain fell at the Edinburgh Playhouse, the residue of hope of change was left in the air. Mark Goucher, Matthew Gale and Laurence Myers present the story of Hairspray with an exceptional cast and orchestra, based on the New Line Cinema film by John Waters.
The musical tells the story of racial segregation in America and the fight for racial equality. From mentions of Rosa Parks and Martin Luther King, the audience are reminded of a struggle that although portrayed as historic, is still relevant today all over the world. The story of bravery, friendship and ‘doing what is right’, is told in a charming and compelling manner through the lyrics of Scott Whittman and Marc Shaiman. The story is told through the bright, naïve eyes of Tracy Turnblad and her passion for dancing. As Tracy’s understanding of herself and world widens, her ambition grows into a galvanising desire for change.
It is hard to know where to start with such a talented and energetic cast. Every cast member brought life and vitality to the performance and executed the complex choreography with vigour, precision and enjoyment in equal measure.
A particularly captivating and poignant performance from Motormough Maybelle (Brenda Edwards) in I Know Where I’ve Been, caused the audience to tangibly hold a collective breath. Her words wove a story of segregation which although targeted to the 1960s, still rings true in the current global climate. This song tells a heartfelt story of loss and struggle and the promise of a better life. One wonders when we may truly get to the ‘Promised Land’ that Martin Luther King described in his speech the day before he was assassinated.
Edna and Wilbur Turnblad (Matt Rixton and Norman Pace) were a down to earth, honest and side-splitting double act, which really brought life and humour to the show. Whether forgetting their lines was intentional or not, their realistic and relaxed roles bounced (literally) off each other in a light-hearted and warm rendition of You’re Timeless to Me.
Annalise Liard-Bailey brilliantly executed her goofy portrayal of the ‘best-friend’, Penny Pingleton with perfect mix of humour, talent and relatableness. Laird-Bailey is one to watch.
However, the stand out performance of the show came from Seaweed (Layton Williams). Williams brought his character to life, and before the audience knew it, Seaweed became the leading man. Between his back flips, his energetic and sensual rendition of Run and Tell That, William’s raw talent and clear love of musical theatre shone though, infecting the audience with his energy. This leading role take-over was very appropriate considering the shows storyline of the journey to equality.
Overall, the 2018 cast of Hairspray tells a family friendly and warm hearted story. Through its upbeat songs (who doesn’t love a singalong encore), the audience are left with the important underlying message of standing up for what you believe is right, no matter your size. After all, all that really matters is the size of your heart.
Hairspray runs at the Edinburgh Playhouse until March 17th before continuing it's tour.
photo credit: Darren Bell
Wednesday 7 March 2018
Hairspray (UK Tour), Bristol Hippodrome | Review
Hairspray (UK Tour)
Bristol Hippodrome
Reviewed on Monday 5th March 2018 by Calvin Welsford
★★★★
Hairspray has always been a show I’ve been dying to see live. I fell in love with the 2007 movie and then most recently with NBC’s tv special, Hairspray Live! starring Kristin Chenoweth, Jennifer Hudson and Dove Cameron, to name a few!
I’d be lying if I said I didn’t have high expectations of the show, because I did. Thankfully the show lived up to these; it was so amazing and a lot funnier than I’d anticipated.
I think my expectations were so high as previous cast members have been very strong and unique, such as Ariana Grande, Matthew Morrison, Harvey Fierstein and Queen Latifah. But the UK tour cast did a phenomenal job of bringing the characters to the stage and evoked the same emotions I’d previously felt and hoped for.
Max Rixton & Norman Price completely stole the show with their version of ‘You’re Timeless To Me’. A unscripted innuendo ‘I can feel your bells’ managed to have the audience and the cast laughing for several minutes. It was clear that the two actors on stage had a good connection as there were non stop innuendos and comebacks during the whole scene.
Rebecca Mendoza made an impressive professional debut as the larger-than-life, Tracy whilst Layton Williams and Edward Chitticks were fabulous as Seaweed and Link.
Although the show overall was incredible, the only thing which I personally think could be improved would be the set. During certain scenes the background is projected on a screen rather than being an actual set piece. This felt a little lacking and made the show feel slightly amateur.
However, I can’t knock the performances of the cast or the direction- everything else was 10/10. Mention must go to Drew McOnie’s choreography which perfectly fits the vibe of the show and is energetic throughout.
If you like musical theatre and especially Hairspray, I’d 100% recommend seeing the current UK Tour!
Hairspray is at the Bristol Hippodrome until 10th March, before continuing its tour.
photo credit: Darren Bell
Wednesday 28 February 2018
Beautiful: The Carole King Musical (UK Tour), New Victoria Theatre | Review
Beautiful: The Carole King Musical (UK Tour)
New Victoria Theatre
Reviewed on Tuesday 27th February 2018 by Olivia Mitchell
★★★★★
The New Victoria theatre was a buzz last night as an excited audience took their seats to take a trip down memory lane with the sentimental songs of the 60s. I must admit when I sat down I wasn't really a Carole King fan having never really been exposed to her music, but two and a bit hours later I was well and truly a lover of all things Carole and have been playing Tapestry on repeat all morning.
Beautiful opens with King (played expertly by Bronté Barbé) sitting alone on stage behind a piano and singing her heart out to a packed audience at Carnegie Hall. Suddenly the piano moves out of view and we are thrown into a Brooklyn apartment where a 16 year old Carole with big dreams and songs to sell arrives on stage.
From here we follow Carole through the ups and downs of her life from the energetic teen to mother, wife, divorcee and Grammy award winner. From the opening scene to the very end, Bronté's Carole is endearing, humourous and engaged with the audience. Her incredible voice, acting and spot on accent hold the show up and our hearts really ache whenever Carole experiences a set back.
The show mainly focuses on the relationship between Carole and her husband/lyricist, Gerry Goffin. Played by Kane Oliver Parry, the character is raw and passionate and the chemistry between the pair is compelling to watch. Alongside we see their best friends and writing rivals, Cynthia Weil (Amy Ellen Richardson) and Barry Mann (Matthew Gonsalves) who are comedic as well as being fantastic singers. The rendition of their hit 'You've Lost That Loving Feeling' was a standout as well as a clear audience favourite.
Beautiful cleverly transitions from the song-writing to the actual performance with the artists appearing to perform the songs as soon as the final chords and lyrics were written. These moments were humourous as well as being genuinely good and allowed the audience to revel in the delightful music by the likes of The Drifters and The Shirelles.
This production is indeed Beautiful and the perfectly moving, magical, sentimental way to spend a few hours. Myself, my mum and those around us found ourselves smiling throughout, just proving that this show has what it takes to enrapture audiences of all generations. The talent of Carole King is undeniable and I can't help but think that no 2000s artist will stand the test of time to have a musical made about them in the future! Whether you think you're a fan of Carole or not, you're sure to recognise many of the hits and leave feeling elated, with a new sense of love and appreciation for the songwriting industry.
Beautiful runs at the New Victoria Theatre until March 3rd before continuing it's tour.
Monday 26 February 2018
Madama Butterfly, New Theatre Oxford | Review
Madama Butterfly (UK Tour)
New Theatre Oxford
Reviewed on Friday 23rd February 2018 by Donna Meredith
★★★★★
Being new to Opera, I arrived at the New Theatre Oxford keen to experience Ellen Kent’s production of Puccini’s Madama Butterfly.
The story of young Japanese girl, Cio-Cio-San, who sacrifices her Japanese roots and traditions when she marries Lieutenant Pinkerton of the American Navy immediately captivated me.
As the opera starts, the matchmaker Goro is showing Pinkerton round the home he will share with Butterfly.
The marriage ceremony is beautifully portrayed amidst much excitement as the bride is prepared for her nuptials. The vibrant colours and costume design are mesmerising.
The arrival of Cio-Cio-San’s Uncle Bonze marks a change in mood as he clearly displays his intense displeasure with her choice of husband and her contradiction of ancient customs.
Despite her uncle’s anger Cio-Cio-San enters in to the marriage idealistically, for lifelong love. The flighty Pinkerton however sees the marriage as a short-lived affair. He inevitably leaves the country promising to return in one year. Three years later Cio-Cio-San is still patiently waiting, believing that one day he will return and they will be reunited. Cio-Cio-San’s servant Suzuki is her loyal companion during Pinkerton’s long absence
In Act 2 Consul Sharpless arrives announcing the expected arrival of an American ship, Cio-Cio-San is filled with joy at the prospect of the imminent return of her beloved husband. She proudly introduces Consul Sharpless to her and Pinkerton’s son: Sorrow. Consul Sharpless does not have the heart to destroy Butterfly’s joy, by sharing the news that Pinkerton has remarried whilst in America.
In anticipation of her husbands return Cio-Cio-San joyfully begins decorating her home with flowers. Whilst Suzuki and the child sleep Cio-Cio-San waits eagerly for Pinkerton's return. As the hours pass Cio-Cio-San gives in to exhaustion and joins her servant and child to sleep.
Sharpless and Pinkerton arrive at Cio-Cio-San’s home accompanied by Pinkerton’s new American wife. Cio-Cio-San is overjoyed when she wakes to hear her husband’s voice. Her joy at the sight of her beloved Pinkerton is clear to see. It is left to the ever-faithful Suzuki to explain to Cio-Cio-San the true intentions of Pinkerton’s visit. The realisation the he has not returned for her, but to take her son from her, and raise him with his new wife in America is met first with disbelief and then acceptance.
The overwhelming sorrow that Cio-Cio-San experiences at the loss of her son leads the heart-breaking climax of this sorrowful tale as she takes her own life.
I found the whole performance beautiful,mesmerising and ultimately painfully sad. The stage setting is simple and in fact the same for both acts. Clever lighting by Valeriu Cucarschi subtly uses shadow on the paper walls to give great visual impact. The Korean soprano Maria HeeJung Kim as Cio-Cio San gives an impressive performance, ably supported by Giorgio Meladze as Pinkerton and Zara Vardanean as Suzuki.
A mention must also go to Vasyl Vasylenko’s superb conducting of Puccini’s music.
It was a pleasure to have the opportunity to speak with Ellen Kent after the performance and congratulate her on bringing together a very talented cast and succeeding in making opera accessible to the masses. I arrived as a first time opera goer and left as a firm fan – next stop Tosca!
Tuesday 20 February 2018
Flashdance (UK Tour), New Victoria Theatre | Review
Flashdance (UK Tour)
New Victoria Theatre
Reviewed on Monday 19th February 2018 by Olivia Mitchell
★★★
If you want some ab-inspiration then Flashdance is the show for you. I saw the show in Wimbledon back in October and wasn't the biggest fan, however, knowing what to expect I was pleasantly surprised. Everyone seems a lot more settled into their roles and there was much more of a flow throughout.
Flashdance centres around the story of Alex, a welder who dreams of being a dancer and attending the distinguished Shipley Academy. On her journey she meets a dapper love interest who also happens to be the boss' son. Aside from this there are some other side plots such as Jimmy who wants to make it big as a comedian, his girlfriend Gloria being pulled into a seedy drug filled world at a rival club and the imminent job cuts for all the apprentices. With regards to these I feel the same as previously that they're not really explored enough to be of that much importance but I totally get that they have to be in there to pad out the show.
But Flashdance is all about the classic, big money numbers which are delivered with spades of energy and commitment. Hits such as 'Gloria', 'What A Feeling' and 'Manic' are instantly recognisable and work brilliantly to hype the audience up and draw them into the Flashdance world.
A lot of the other songs are a little unmemorable but they vigour they are performed with makes up for it. Joanne Clifton is exceptional as Alex. From Strictly fame she's of course known for her dance but seeing her on stage performing Matt Cole's choreography is extra special. She's magnetic and draws you in even when performing a group number. Her vocals are strong although at times I found her diction lacking but she is certainly cut out for the role and I can see why she has abs of steel from being that full out every night! As her rich-boy boyfriend, Ben Adams is equally as strong. Whilst his pop vocals are not commonplace in the musical theatre world, they are strong and fit with the character. The pair have a lovely chemistry and really draw you into the story.
I have to mention Colin Kiyani as Jimmy who again gave me Ben Platt vibrato vibes and Hollie-Ann Lowe who was versatile and vulnerable as his girlfriend, Gloria. Again, the two have a sweet chemistry. Sasha Latoya is vocally breathtaking and equally humourous whilst Sia Dauda and Demmileigh Foster (who is literally Victoria Hamilton-Barritt reincarnated) were full out in their high octane numbers as Kiki and Tess.
There were a few technical issues such as mics being too quiet and the irony wasn't missed when one of the girls' top wouldn't stay done up when singing about keeping her clothes on! Totally no ones fault though and a very small detail in a big production. I'm also not a big fan of megamixes at the end of shows but there's no denying that it got everyone up on their feet and in a good mood as they left the theatre.
Flashdance isn't the most astounding piece of theatre but it's high energy from start to finish with some memorable songs that'll definitely get stuck in your head. For a fun night out that'll leave you smiling and in my case, dancing round the house, then be sure to pay a visit to this 80s classic on stage.
Flashdance runs at the New Victoria Theatre until February 24th before continuing it's UK Tour.
Tuesday 23 January 2018
Sunset Boulevard (UK Tour), New Victoria Theatre | Review
Sunset Boulevard (UK Tour)
New Victoria Theatre
Reviewed on Monday 22nd January 2018 by Olivia Mitchell
★★★★★
The recent trend in my life seems to be watching things about the golden age of Hollywood and actresses who can't face the loss of fame. If you watched Ryan Murphy's recent television series, Feud, you'll notice the strong similarities between the life of fictional Norma Desmond and film royalty Joan Crawford. Both women were stars of the silent film era and the embodiment of Hollywood glamour, however as they grew older and their fame and fans disappear, they fall into a draining game of always trying to appear young and live as though their glory days aren't over.
In Andrew Lloyd Webber's adaptation of Billy Wilder's 1951 film, Sunset Boulevard, we meet a reclusive Norma who's in a dark phase of her life as she's trying to get back into the film world. Enter Joe Gillis the struggling screenwriter desperate to get his lucky break who somehow ends up in Norma's sprawling mansion.
Dreaming of making her comeback, Norma recruits Joe to edit and finish her screenplay. However, their relationship slowly spirals into it's own film of drama and tension as Norma becomes obsessive and possessive over Joe- threatening suicide if he leaves.
Dreaming of making her comeback, Norma recruits Joe to edit and finish her screenplay. However, their relationship slowly spirals into it's own film of drama and tension as Norma becomes obsessive and possessive over Joe- threatening suicide if he leaves.
The staging is slick and perfectly evocative of the 40s/50s, helped hugely by Douglas O'Connell's spectacular video and projections which not only add to each scene and song but make the whole thing cinematic and help to blur the line between reality and film which Norma struggles to deal with.
The show, like it's characters, is full of melodrama and power. Ria Jones takes on the role of the narcissistic, fading Norma Desmond with masterful skill. Her performance is truly remarkable and she embodies the role with every fibre of her being. Commanding the stage and audience with her every word and whacking Andrew Lloyd Webber's huge numbers out of the park. Jones puts in everything the has to earn her extensive standing ovation at the end.
As the handsome, aspiring screenwriter Joe, Dougie Carter is outstanding and versatile. From fairly innocent at the start to dark and tortured. He is absolutely faultless, with his rendition of Sunset Boulevard gripping the audience at the start of Act 2 along with is sharp, engaging chemistry with Ria Jones.
Special mention must go to Adam Pearce who deftly plays the Phantom-esque role of Max Von Myerling and superbly balances his endearing and chilling sides whilst delivering some top class vocals that almost steal the show.
This production is a musical theatre masterclass that perfectly charts a story of obsession, drama, age and lust. It's a must see for any musical theatre fan, with Ria Jones' performance worth the ticket price alone.
Sunset Boulevard runs at the New Victoria theatre until January 27th before continuing it's tour.
Saturday 9 December 2017
Evita (UK Tour), Palace Theatre Manchester | Review
Evita (UK Tour)
Palace Theatre, Manchester
Reviewed on Thursday 7th December 2017 by Jeni Skirrow
★★★★
Tim Rice and Andrew Lloyd-Webber have written some truly captivating, catchy musicals and Evita is of course iconic and no exception to this. An ever popular rags-to-riches type of story based on the life and demise of Eva Peron, wife of Argentine president, Juan Peron. The plot follows her rise to iconic status heralding her as the ‘spiritual leader of the nation’, heroine of the Argentine people, and of course her untimely premature demise.
Straight from the West End, Manchester was privileged to be the first stop in the new twelve month tour of Bill Kenwright’s production. Eva Peron’s role is a demanding performance and Madalena Alberto is mesmerisingly magnificent, with not just unfalteringly consistent vocals, but how beautifully she captures the fledgling radio star’s glamour, seduction, hope and steely desperation. 'Don’t Cry For Me Argentina' is undoubtedly the most highly anticipated song in the show and Madalena’s performance did not fail to give me goose bumps- exquisite. “As for fortune and for fame, I never invited them in”... until the final curtain there’s something very dubious about this statement.
The narrator Che deserves a mention, heroic Gian Marco Schiaretti’s presence (and biceps) were suitably foreshadowing- he is perfect for the role. His strong and versatile performance was a joy to watch.
Each scene was beautifully realised through expert choreography, cleverly slick staging and continual costume changes for Eva, telling a story within itself. This production was everything I hoped it would be and more. Emotional, beautiful and inspiring it was an ideal theatrical experience.
Evita is a moving story, with a mixture of up-beat, high intensity numbers as well as slower, more emotionally moving pieces. This balance and contrast makes it flow smoothly and provides a wonderful night out at the theatre. With beautiful music, great staging and fabulous performances all round, I implore you to get along to this show if you can.
Photo credit: Keith Pattison
Wednesday 29 November 2017
Beautiful: The Carole King Musical (UK Tour), Edinburgh Playhouse | Review
Beautiful: The Carole King Musical (UK Tour)
Edinburgh Playhouse
Reviewed on Tuesday 28th November 2017 by Liv Ancell
★★★★★
Wasting no time in getting started, the Carole King musical opened with the protagonist (played by the talented Bronté Barbé) sitting behind a grand piano at the Carnegie Hall concert, a highlight of King’s solo singing career. During these first few moments of the show we see Carole at her pinnacle – a headline concert.
Some world-class singing, along with a quick comical address to the audience, and whoosh! The piano glides to the back of the stage, while the forefront is seamlessly transformed into a mid-century apartment in Brooklyn. In an astonishing demonstration of hurried backstage dressing, Carole emerges just moments later, transformed into the gawky 16-year old college student with big ambitions.
And so the show really begins, as we follow the peppy and promising teenager from the very beginnings of her musical ambitions. Throughout the show, we are to see several more versions of Carole. From naïve teenager to career-woman, mother, divorcée and reborn singer – Bronté’s unwavering Brooklyn accent and incredible acting talent carried the audience right the way through the character’s incredible journey.
From joy to dejection, every facet of emotion was expertly communicated by this veritable stage star; from gestures to posture and tone, the calibre of acting on show made the audience really get behind the character. When Carole suffered a set-back, the audience collectively mourned for her. When Carole rejoiced, the audience rejoiced. The connection between Bronté and the audience was pure and deep, emphasising the quality of talent possessed by the actress.
My favourite aspect of the show was the flashy transitions between song-writing and performance. Carole and her husband Gerry Goffin, who was her partner in a work sense, too had a believable on-stage chemistry. The very moment that our ingénues completed the writing of each song (her the melodies and him the words), the chosen artists suddenly appeared to perform Carole and Gerry’s works. These quick ‘cut-betweens’ intersected the story, providing moments of sheer joy, and often comedy, as the audience enjoyed upbeat, all-dancing, all-singing renditions by the likes of The Shirelles and The Drifters.
Carole and Jerry’s counterparts, songwriting duo Barry Mann and Cynthia Well – who were great friends of Carole and Jerry – are the subjects of a sideline love story. The ambitious go-getter Cynthia and hypochondriac musician Barry provide many moments of comedy, and are instantly likeable.
As Carole strikes out on her own in Act 2, the audience see even more of the endless talent possessed by this legendary artist. More confident, less naïve and wiser, the character doesn’t hold back and the real potential of her talent is unlocked. This show is a beautiful journey of talent and dreams, a journey who’s ending would not seem quite so special if the moments of sadness and despair had not appeared along the way.
A packed Edinburgh Playhouse rose to their feet to toast the young talents of the show. The main characters and the ensemble really seemed to understand the complexities of the relationships and the time period which the show spanned. The execution of this show was flawless; from staging to lighting, to the script and the arrangements.
I whole-heartedly recommend this show to anybody – even if the name Carole King is unknown to you prior to seeing the show, I can guarantee hits such as the Locomotion and Will You Love Me Tomorrow will jog your memory and give you a new found sense of appreciation of this song writing and singing legend.
Friday 24 November 2017
Son of a Preacher Man (UK Tour), Grand Opera House, Belfast | Review
Son of a Preacher Man (UK Tour)
Grand Opera House, Belfast
Reviewed on Tuesday 21st November 2017 by Damien Murray
★★★
With its combination of an all-star line-up of principals and the timeless music made famous by the late Dusty Springfield, this show looked and sounded promising as a good night out at the theatre and expectations were high.
However, incorrectly referred to by many as ‘the Dusty Springfield musical’ (totally not the fault of the producers), this show is neither the Dusty Springfield story nor a bio-musical about her, but rather a style of juke-box musical that features her many hits held together by an unnatural and most ridiculous of storylines.
The complex and convoluted plot revolves around a cross-generational trio of individuals with relationship issues, who, by coincidence, arrive at the same time at a Soho coffee shop (formerly The Preacher Man record shop) in search of an answer to their respective lonely heart problems.
The legendary record-shop owner, the long-dead Preacher Man, had been a sort of agony uncle with an ear and a solution for those with relationship problems back in the 60s and the coffee shop is now under the control of his less-confident son, Simon, played with great experience by Ian Reddington.
Representing the older generation, Michael Howe played Paul, the first of the three troubled individuals, with assurance, while Debra Stephenson’s middle-aged widowed teacher, Alison, was good, but the awkward script didn’t allow her the same opportunity to develop her character to the same extent as the others.
However, the undoubted star of this show was young Diana Vickers, as Kat from the mobile phone generation, who brought a nice balance of humour and great vocals to the show.
Indeed, due to her young age, Vickers was probably the least familiar with the music of Dusty, which makes it even more surprising that she was the one who did the greatest justice to her songs in this show.
The set’s authentic and realistic-looking Soho coffee shop, complete with scene identifying neon signs, was impressive and was, generally, well-used by the talented cast of multi-instrumentalists in the form of on-stage actor musicians, aided by other hidden musicians.
Musically, this was good, but the combination of dodgy vocals from some performers and a few new song arrangements may have disappointed die-hard Springfield fans.
However, it was the efforts of the majority of the cast and those great songs that saved this show, especially the already mentioned vocals of Vickers and the stand-out harmonies of the three Cappuccino Sisters, played by Michelle Long, Kate Hardisty and Cassiopeia Berkeley-Agyepong.
However, despite its attractive lighting plot, good cast of principals and creative team, this production was sadly let down by its overall slow pace, its weak narrative and Craig Revel Horwood’s unsubtle choreography.
I am led to believe that on-going changes are being made to improve on its weak points … we can only hope that such improvements are in place long before the end of the scheduled tour.
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