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Thursday, 22 May 2025
Review: Shucked at Regent’s Park Open Air Theatre- A Theatrical Kernel of Joy
Shucked
Regent's Park Open Air Theatre
There’s a whole lot to shuckin’ love about Shucked, now lighting up the stage at Regent’s Park Open Air Theatre. In a world that too often feels dark, this radiant, knee-slappin’, corn-fed musical comedy offers a buttery escape- warm, golden, and just the right amount of corny. Under the ever-imaginative direction of Jack O’Brien, this UK premiere pops with joy, brilliant choreography, and heartfelt hilarity that leaves you grinning from corn ear to corn ear.
Originally grown on Broadway, Shucked is a musical that never takes itself too seriously, and that’s its biggest strength. The show, with book by Tony winner Robert Horn and music and lyrics by the Grammy-winning country duo Brandy Clark and Shane McAnally, is a jubilant celebration of community, connection, and corn. Yes- corn. And trust us, you’ll never look at maize the same way again.
Choreograper Sarah O’Gleby, brings her trademark flair for physical comedy and visual storytelling. From toe-tapping hoedowns to sly little winks in the movement, his direction ensures the action never goes stale. Every beat feels fresh and full of flavour. The choreography is sharp and satirical, leaning into the show’s knowingly silly tone without letting it tip into parody. It’s a-maize-ing how balanced the humour is.
The open-air setting is the perfect patch for this rural romp. Regent’s Park Open Air Theatre has always been a magical venue, but here, with Japhy Weideman’s sunshine-drenched lighting design and Scott Pask’s witty, vibrant set, it becomes a heartland paradise. There’s real theatrical alchemy in watching a musical about growing things, bloom under actual summer skies.
The cast are ear-resistible. Sophie McShera leads with pluck and power as Maizy, delivering powerhouse vocals with a wink of mischief. Ben Joyce is gloriously goofy as Beau, while Monique Ashe-Palmer and Steven Webb- playing the narrators- steal scenes with quick-fire delivery and impeccable comic timing. Their banter snaps, crackles, and pops. Georgina Onuorah shines as Lulu, delivering a performance that’s as crisp and charismatic as fresh-popped corn- her powerhouse vocals and razor-sharp comic timing make her an undeniable stand-out amongst a stellar cast.
Musically, the score is an earworm-stuffed delight. The blend of bluegrass, country, and pop feels authentic and catchy, with standout numbers like 'Independently Owned' getting well-deserved rounds of applause. The band, brings an infectious energy to the whole affair.
What makes Shucked more than just a corny joke-fest is its kernel of sincerity. Amid the pun-filled gags and outrageous plot twists, there's a surprisingly poignant message about the power of community and listening- especially when the world feels like it’s cracking at the seams.
Yes, some of the jokes may make you groan before you giggle, and yes, the plot is bonkers. But that’s the whole point of it. This is a show that dares to be joyful- and in these sometimes difficult times, that’s something worth celebrating.
So grab your friends, head to Regent’s Park, and let Shucked butter you up. It might not change the world, but for a couple of hours, it sure makes it feel a whole lot brighter.
★★★★
Reviewed on 21st May 2025 by Olivia
Photo Credit: Pamela Raith
{AD PR Invite- tickets gifted in exchange for honest review}
Keywords: Shucked review, Regent’s Park Open Air Theatre, Drew McOnie choreography, London theatre 2025, Georgina Onuorah Shucked, feel-good musicals London, summer theatre London, West End musicals, drew mconie musical, comedy musical review UK.
Sunday, 20 October 2024
UK Theatre Awards 2024: Winners Announced in Celebration of British Theatre
The winners of the UK Theatre Awards 2024 were unveiled at a celebratory ceremony hosted by Faye Tozer at 8 Northumberland Avenue. These prestigious awards honour the very best of theatre from across England, Scotland, Wales, and Northern Ireland, recognising creative excellence and outstanding work both on and off stage.
With winners representing all four nations, the event highlighted the diversity and strength of the UK theatre industry. Leeds Playhouse’s production of Oliver! led the way with two major wins, including Best Musical Production and Best Performance in a Musical for Jenny Fitzpatrick.
In the On Stage categories, Best Director went to Drew McOnie for The Artist at Theatre Royal Plymouth, while Best Play Revival was awarded to Rhino at Lyric Theatre Belfast. Best New Play went to Swim, Aunty, Swim! from the Belgrade Theatre. The Stephen Joseph Theatre’s production of Beauty And The Beast took home Best Show for Children & Young People, and Achievement in Dance was awarded to Mehek, a co-production by Aakash Odedra Company and Aditi Mangaldas Dance Company. Achievement in Opera went to Welsh National Opera for Death In Venice.
In the acting categories, Best Performance in a Play was awarded to David Shields for Punch at Nottingham Playhouse, and Best Supporting Performance was given to Chumisa Dornford-May for her role in Evita at the Curve Theatre.
Polka Theatre was crowned the UK’s Most Welcoming Theatre, beating out strong competition. Off-stage recognition included Chichester Festival Theatre winning the Excellence in Sustainability Award, and the Excellence in Inclusivity Award going to Antony & Cleopatra at Shakespeare’s Globe.
Full List of Winners at the UK Theatre Awards 2024:
On Stage Awards: Best Design: Kenneth MacLeod for Dracula: Mina’s Reckoning (National Theatre of Scotland & Aberdeen Performing Arts co-production with Belgrade Theatre)
Best Director: Drew McOnie for The Artist (Theatre Royal Plymouth, McOnie Company, Playful Productions & Bill Damaschke)
Best Musical Production: Oliver! (Leeds Playhouse, in association with Cameron Mackintosh)
Best New Play: Swim, Aunty, Swim! (Belgrade Theatre, in association with tiata fahodzi)
Best Play Revival: Rhino (Tinderbox Theatre Company at Lyric Theatre Belfast)
Achievement in Dance: Mehek (Aakash Odedra Company & Aditi Mangaldas Dance Company)
Achievement in Opera: Death In Venice (Welsh National Opera, in association with NoFit State)
Best Supporting Performance (in a Musical or Play): Chumisa Dornford-May for Evita (Curve Theatre)
Best Performance in a Musical: Jenny Fitzpatrick for Oliver! (Leeds Playhouse)
Best Performance in a Play: David Shields for Punch (Nottingham Playhouse)
Best Show for Children & Young People: Beauty And The Beast (Stephen Joseph Theatre)
Off Stage Awards:Excellence in Arts Education: Royal Shakespeare Company
Excellence in Touring: Parti Priodas (Theatr Genedlaethol Cymru)
Excellence in Inclusivity: Antony & Cleopatra (Shakespeare’s Globe)
Excellence in Sustainability: Chichester Festival Theatre
Workforce Award: Buxton Opera House & Pavilion Arts Centre
UK’s Most Welcoming Theatre: Polka Theatre
Special Recognition: Outstanding Contribution to British Theatre: Jenny Sealey OBE (Artistic Director of Graeae)
Claire Walker and Hannah Essex, Co-CEOs of Society of London Theatre & UK Theatre, praised the winners, saying:
This year’s UK Theatre Awards ceremony has been a truly joyful celebration and a real testament to the quality and diversity of the work that our members do both on and off the stage and in their local communities. Congratulations to all the winners and nominees."
The UK Theatre Awards 2024 were sponsored by Encore, with support from AKT, Cunard, Harbottle & Lewis, John Good Ltd, MTI Europe, Theatre Tokens, Tysers in association with Ecclesiastical, Unusual Rigging, and White Light.
photo credit: Pamela Raith
Wednesday, 5 June 2024
Jesus Christ Superstar on Tour is an Electrifying Experience | New Victoria Theatre Woking | Review
Jesus Christ Superstar (Tour)
New Victoria Theatre
Last night, I had the pleasure of attending the current UK tour of Jesus Christ Superstar, and it was a nearly perfect theatrical experience. From the moment the curtain rose, I could tell this production was something special. Having seen it previously at the Barbican Centre, I knew what to expect but I was really pleasantly surprised with how well the production has translated for touring.
Andrew Lloyd Webber's show, a rock-opera-musical has one of the most intricate and powerful scores I've personally experienced in the theatre. The vocal demands from every performer, whether the high as mountains soprano tracks or the booming bass of Caiaphas, every role requires strength, integrity and control which this cast deliver in spades. Alternate in the role, Charlie McCullagh's portrayal of Jesus is astounding. Taking on the role with the quiet swagger of a popstar, it's evident why he'd garner a following and his kind, charismatic persona, makes his eventual crucifixion incredibly moving and powerful. Vocally, you cannot fault his performance, (his Gethsemane is firmly in my top performances of 2024) every single note is supported and intentionally performed and the emotion imbued into each moment is magnetic to watch. Shem Omari James' Judas is equally compelling, delivering a nuanced and passionate performance that adds layers to the character and leave you questioning his motives long after the curtain goes down. The chemistry between the two leads is palpable, making their dynamic and relationship both riveting and heartbreaking. Hannah Richardson completes the trio perfectly, bringing a tenderness to Mary almost acting as a mediator throughout. Her voice is soulful and she really made the iconic songs feel new and refreshed.
Musically, the production is outstanding. The orchestra deliver Andrew Lloyd Webber's iconic score with vibrant intensity. The contemporary rock-infused arrangements breathe new life into the familiar tunes while still honouring the original spirit of the musical. This is an incredibly well-oiled machine of a show that seems to have paid meticulous attention to making every single moment hit with astounding intensity.
Visually, the show is a feast for the eyes. Tom Scutt's set design is innovative, using modern elements to create a versatile and dynamic stage, without the need for any huge set changes. Equally, his costumes, blending traditional and modern styles, are simplistically striking and allow for some really interesting moments, especially towards the end when some characters literally get Jesus' blood on their hands and bodies. One of my favourite elements of the musical is Lee Curran's lighting which is continually awe inspiring as it enhances dramatic moments and add a layer of symbolism that beautifully complements the narrative. Whilst I don't always understand the meaning of Drew McOnie's choreography, I find it incredibly arresting and love the frenetic energy that it brings to the stage.
The only minor drawback for me, is the occasionally overpowering sound mix. At times, the balance between the orchestra and the vocalists is off, making it difficult to catch all of Tim Rice's intense and often witty lyrics. However, this was a small blemish on an otherwise stellar production.
In my opinion, this touring version of the classic show is a must-see. It’s a masterful revival that pays homage to the original while bringing a fresh and contemporary twist. Whether you're a long-time fan of the musical or experiencing it for the first time, this production is sure to leave a lasting impression. Impeccably performed, it's one of the most moving and powerful shows I've seen this year and I wouldn't hesitate to recommend it.
★★★★
Reviewed on Tuesday 4th June 2024 by Olivia
Photo Credit: Paul Coltas
{AD PR Invite- tickets gifted in exchange for honest review}
Tuesday, 31 January 2023
Cast for Cake- The Marie Antoinette Playlist Announced
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The brand-new musical, come gig, come ballet is from some of the most exciting figures in modern British Theatre, with an Olivier Award winning creative team including Olivier Winner’s Drew McOnie(In the Heights; Jesus Chris Superstar) and Morgan Lloyd Malcolm (Emilia - The Globe)
Cake will be venturing on a UK tour from 18 March 2023, starting at the MAST Mayflower Studios, Southampton.
Casting will include, fresh from her magical run as Mary Poppins on the West End, Zizi Strallen (she/her) stars as Marie Antoinette, with Renée Lamb (she/her), Catherine of Aragon from the original cast of SIX, starring as Jeanne.
The cast is completed by B Terry (they/them) as Nicole, Travis Ross (he/him) as Cardinal with Ope Sowande (he/him) and Megan Bryony Gibbs (she/her) as the ensemble and Lukas Hunt (he/him) and Amie Hibbert (she/her) as swings.
Cake combines music with 18th century France to retell a story that sparked a revolution. When Marie Antoinette married King Louis, her reputation was already tarnished by gossip. But when she is implicated in a crime to defraud the crown jewellers of a diamond necklace, it is not just her reputation at stake, but the monarchy and France itself.
Originally commissioned by Paul Taylor-Mills (Heathers & In the Heights), Cake promises to re-define our expectations of what a musical can be.
Paul has said, “We are delighted to be partnering with 5 of the leading regional theatres to present a development production of this brilliant new show. I first commissioned this at The Other Palace five years ago and am delighted to be working with some of the best theatre makers in Drew McOnie, Morgan Lloyd Malcolm, Tasha Taylor Johnson and Jack McManus. The show started life at our first MTFestUK and it’s great to see it come to production.”
Cake is written by Morgan Lloyd Malcom directed and choreographed by Drew McOnie with songs by Tasha Taylor Johnson and Jack McManus, casting by Will Burton CDG and based on an idea byPaul Taylor-Mills.
Wednesday, 15 July 2020
Regent's Park Open Air Theatre to present Jesus Christ Superstar: The Concert
Regent’s Park Open Air Theatre is the first London theatre to welcome back audiences with 70 live performances in August and September, with venue capacity reduced to 390 seats, 30% of its usual capacity, together with new safety protocols
From 14 August, Regent’s Park Open Air Theatre will produce a special concert staging of their production of Tim Rice and Andrew Lloyd Webber’s Jesus Christ Superstar.
William Village, Executive Director said: “Following the government’s announcement last week that outdoor theatres may re-open, we have been working around the clock to find a way to open in August and September this year. With social distancing, seating capacity has been dramatically reduced to 390 seats (down from 1,256). This makes producing any large-scale show economically extremely challenging, particularly as we are an unfunded organisation. Nevertheless, both for us as a venue, and the industry as a whole, we believe it is incumbent upon us to do everything possible to re-open this year, and we’re delighted to announce this special concert staging of our award-winning production of Jesus Christ Superstar.
Of course, the safety of our audience, performers and staff remains of paramount importance to us. We will follow government guidance meticulously; measures to be introduced at the entirely open air venue include: reduced capacity, distanced performers, enhanced cleaning, one-way systems, mandatory face coverings, temperature checks, paperless and cashless systems and multiple hand sanitiser stations. All information will be set out clearly on our website and communicated with audiences in advance of their arrival.”
Running for six weeks from Friday 14 August until Sunday 27 September 2020, the concert will run for 90 minutes with no interval.
The creative team is: Will Burton CDG and David Grindrod CDG (casting); Lee Curran (lighting design); Tom Deering (musical supervisor); Barbara Houseman (associate director, voice and text); Drew McOnie (choreography); Nick Lidster for Autograph (sound design); Tom Scutt (design); Timothy Sheader (director); Kate Waters (fight director) and Denzel Westley-Sanderson (co-director). Full casting information will be announced in due course.
A series of one-off MOREoutdoor Mondays will also play throughout the run with comedy from Rob Beckett, Russell Brand, Jimmy Carr, Kerry Godliman, Judi Love and Russell Kane.
Timothy Sheader, Artistic Director said: “It has been, and continues to be, an incredibly challenging time for everyone working in the theatre industry. Whilst the arts sector awaits details of how the government’s support package will be disseminated, I’m heartened that we have been able to start work again with a number of our colleagues and to employ over 140 people including 70 performers and freelancers, at least for a brief period this summer.
However, a clear and specific timeframe for the re-opening of the rest of our industry, together with the complete and safe removal of social distancing measures in all venues, remains critical to secure the future of the arts in the UK.”
Public Booking for Jesus Christ Superstar: The Concert, opens 11am, Tuesday 21 July 2020; Public booking for MOREoutdoor Mondays opens 11am, Thursday 23 July 2020
Tuesday, 9 July 2019
Jesus Christ Superstar, Barbican Theatre | Review
Jesus Christ Superstar
Barbican Theatre
Reviewed on Thursday 4th July 2019 by Olivia Mitchell
★★★★
Back for its third triumphant year, the Regent's Park Open Air production of Jesus Christ Superstar is exciting, vibrant fresh and thrilling. Originally released as a concept album, Timothy Sheader's production strips Superstar back and puts on a glittering and compelling performance which lets every aspect of the show shine.
Of course Andrew Lloyd Webber and Tim Rice's rock score is the heart of this production, with huge belters from the two Js: Jesus and Judas, and more soothing, lighter numbers from Mary Magdalene. However, it's Drew McOnie's choreography that really elevates everything about this version of Superstar. Each riveting moment is sharp but free and grungy at once. The frenetic energy flits between excitement, fury, trance and sadness and creates a pulse which sizzles and entertains throughout.
What's particularly striking about this show is the mob mentality of the followers and apostles of Jesus. Turning on a dime to support and then attack Jesus, there are very few loyalties when peer pressure gets overwhelming. Emphasised even further through Lee Curran's lighting, it's equal measures devastating and thrilling.
Robert Tripolino's Jesus is charismatic and obviously troubled as he pours everything he has into his preaching, but is exhausted and alone as he privately questions his destiny on earth. His storming vocals are the perfect balance of sincere and shocking and his hugely dramatic death, manages, in a strange way, to resonate; and his heartbreakingly truthful performance of Gethsemane in act two enthrals the audience. Ricardo Afonso is a complete superstar as Judas, played with a ferocity which is electrifying. Again he shows off the versatility of his voice but is most vibrant in his bold, angry moments. A real masterclass performance.
Matt Cardle comes to life in act two whilst Nathan Amzi and Cavin Cornwall provide entertaining vocals throughout. Samuel Buttery brings a comic relief which suddenly turns brutish in his excellent portrayal of King Herod. The ensemble are a body of their own as they pulse across the stage with an energy and intensity that jumps off the stage. Without a weak link, the performances are consistently full-out and electrifying. This team work as one throughout and give a continually flowing show.
This is a thrillingly furious, highly millennial production, in which miraculous performances are given and striking images resonate long after the curtain falls.
photo credit: Johan Persson
Thursday, 24 May 2018
Strictly Ballroom, Piccadilly Theatre | Review
Strictly Ballroom
Piccadilly Theatre
Reviewed on Wednesday 23rd May 2018 by Nicola Louise
★★★★
Every now and then a show fly's into theatres that involves more sequins and glitter that you can shake a stick at... this is DEFINITELY one of those shows!
Set in Australia, in the crazy world of ballroom dancing competition, the show focuses on Scott Hastings (Jonny Labey), a young boy wanting to break out of the norm. There's no denying Labey's skill on the dance floor but it's his ability to adapt to different to the various dance styles with ease and grace that make him really stand out. When joined by Fran (Zizi Strallen), you're blown away by the chemistry of the two. Strallen's character has the perfect edge of adorableness and elegance. When dancing, this elegance shines through and even as the dance and drama become more intense, she retains her somewhat geeky side.
Will Young stars as the host of the Ballroom competition and the shows narrator, Wally Strand. Young has the comedic timing down like the best of them, however, I felt his voice let him down. Although a great singer, it's clear that Young's voice still has more of a pop sound than a traditionally musical theatre one and at points I felt his voice was not as strong as needed.
Strictly Ballroom is very predictable but this doesn't take away from it. I was still awe struck by the amount of talent each dancer has on stage; "Watching this makes me want to learn how to Ballroom dance" said a friend of mine, and I was right behind her on that, you'll be mesmerised my the swift movements and sparkles.
I wasn't a huge fan of Anna Francolini, playing Scott's mother Shirley Hastings. Although clearly a very funny actress, I couldn't help cringe a little at her over the top interpretation which at times felt a bit panto. (Think Kath and Kim do Panto!)
Although this show focused on the dancing, it is classed as a musical and maybe I'm wrong but I would expect more than one person singing. Young sings the whole show with the main characters singing one or two lines at the very end. It would be nice to have more variety of voices, especially as I didn't feel Young's voice was strong enough to carry a whole show by himself.
This show is perfect for all the family and anyone who loves ballroom dancing, the comedy is perfectly timed and the direction by Drew McOnie is perfect.
There was a full theatre standing at the end cheering and clapping, something which I assume happens every night after this up-beat, joyful musical.
Strictly Ballroom runs at the Piccadilly Theatre until October 20th 2018
photo credit: Johan Persson
Tuesday, 24 April 2018
Strictly Ballroom, Piccadilly Theatre | Review
Strictly Ballroom
Piccadilly Theatre
Reviewed on Tuesday 24th April 2018 by Olivia Mitchell
★★★★
Strictly Ballroom is a chilled out, glittering celebration of dance and a refreshing show to add to the list of ones to cheer us up in these dreary times.
Based on Baz Luhrman's 1992 film, Strictly Ballroom tells the story of Scott Hastings, a young Australian man who’s been dancing and winning awards for almost his entire life. He longs to break free of what moves are ‘expected’ and 'strictly ballroom' and pave his own way in the dance world. Enter Fran, just Fran, the overlooked dancer who wants a life of love, passion and to dance with Scott. When Scott starts improvising at a dance competition again, his partner Liz leaves him and he and Fran become secret dance partners.
This show is cheesy beyond belief but it’s also extremely self-aware. The over exaggeration and somewhat cringy humour works because it doesn’t try to be anything other than fun. The characters are larger than life but work to create an embellished version of life as a competitive dancer.
This show is of course, all about the dance and Drew McOnie has done an outstanding job choreographing his West End debut. The moves are sharp, sleek and a real joy to watch. When attending this show, I wasn't aware that it's not a typical musical. In fact, I would describe it more as a play with songs. Will Young takes on the role of Wally Strand who acts as the compere, narrator and singer. His voice is beautiful and he does a fabulous job of performing Marius De Vries' arrangements of hit songs such as Dancing With Myself, Love is in The Air, I Wanna Dance with Somebody and more. This set up doesn't take away from the show at all but it would be nice to see the rest of the company getting a chance to show off their vocals. However, it's the dance that's the star of the show. Taking the place of big vocal numbers, it's stunning to see such colourful, glitzy routines on the stage. The act 2 close of the Paso Doble and Habañera is especially powerful, with Fernando Mira's flamenco routine wowing the audience and proving how emotive dance is.
There’s a running joke that the west end isn’t the west end unless a Strallen sister is in a show. Seeing Zizi Strallen perform you can understand how their talent has made them a crucial part of the London theatre scene. Zizi’s performance is dorky and heartfelt and her character arc throughout is beautiful to watch. It’s truly joyous to watch her perform and you can't help but keep your eyes on her every second she's on stage. I am definitely going to have to bring my apricot face scrub out of the cupboard if it'll make me look like Zizi! Ms Strallen's footwork is also sublime and she works in perfect synchronicity with Jonny Labey who is is dazzling on stage and clearly the perfect choice for the role. The pair of actors are a winning combo.
Anna Francolini is suitably hilarious as Scott's mother who lives vicariously through him- her comedic timing is outstanding. Eve Polycarpou is sweet and endearing as Fran's Abeula and her latin vocals really stand out amongst the rousing music. The ensemble of Strictly Ballroom are great, all with clear personalities in their dancing duos. Gabriela Garcia and Liam Marcellino really stand out as Vanessa and Wayne. The entire cast work brilliantly together to create a polished show.
It's a lovely feature to have the band live on stage and it's amazing how they become part of the action rather than being overshadowing at all. Catherine Martin's costumes are as sparkly and over the top as you could want and Soutra Gilmour's set is simplistic but emotive. This production is well thought out and it's clear to see how much care and love has gone into it from the entire cast, crew and company.
It's time to escape the grey for the colour filled dance hall of Strictly Ballroom. Bogo Pogo your way to the Piccadilly theatre for a spectacularly sparkly experience, and a fun, chilled out night that'll make you want to get out of your seat and dance.
Strictly Ballroom runs at the Piccadilly Theatre until October 20th 2018
photo credit: Johan Persson
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
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