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Showing posts sorted by relevance for query The Band. Sort by date Show all posts
Wednesday 2 November 2016
Sunny Afternoon (UK Tour), New Victoria Theatre | Review
Sunny Afternoon
New Victoria Theatre
Reviewed on Tuesday 1st November 2016 by Olivia Mitchell
Reviewed on Tuesday 1st November 2016 by Olivia Mitchell
★★★★★
I wouldn't say I'm the biggest fan of The Kinks but I know pretty much all their music thanks to my dad playing it everyday of my childhood and I'd heard incredible things about Sunny Afternoon from so many people but for some reason I never got round to seeing it in the West End so when I got the chance to review the tour I was very excited!
Friday 23 February 2024
Just For One Day at the Old Vic REVIEW: Pitch Perfect Peformances
Just For One Day: The Live Aid Musical
The Old Vic
Written by John O'Farrell, Just For One Day transports audiences back to 1985, to the historic Live Aid concert held simultaneously at Wembley Stadium and JFK Stadium. Through the eyes of various characters, including musicians, organisers, and fans, the musical captures the spirit of unity and hope that defined this iconic event. Against the backdrop of global issues and personal struggles, the show celebrates the power of music to inspire change and bring people together.
With direction by Luke Sheppard, the musical is a poignant homage to the legendary Live Aid concert, offering a nostalgic journey through one of music's most iconic moments. While the musical may not reach the heights of the original event, it nonetheless succeeds in capturing its essence and paying tribute to the artists and activists who made it possible. It's definitely a musical that can appeal to and appease a wide range of audiences; as someone who wasn't alive during the original concert, I completely felt the importance and excitement that surrounded it, whilst my mum who regaled her story of watching the concert on a tiny screen in Cyprus during her honeymoon, wholly felt the nostalgia and related in a different way.
The strength of Just For One Day lies in its stellar cast, who deliver powerful performances that breathe life into the characters they portray. Craig Els leads the show as Bob Geldof and does a stellar job, bringing a brilliant amount of humour but also a sense of gravitas when discussing the atrocities of the Ethiopian famine which put the whole thing in motion.
Danielle Steers shines every moment, bringing her usual astoundingly soulful vocals, whilst Jack Shalloo is a complete standout as Midge and Abiona Omonua is charming as Amara. At this performance Margaret Thatcher was played by Kerry Enright who is absolutely fantastic, providing some of the most hilarious and well characterised moments of the show. Vocally this is a cacophony of powerhouses, with everyone providing killer moments but special mention goes to Olly Dobson and Collette Guitart who really shine, I wish they got more solo moments! Rhys Wilkinson also brings fantastic characterisation to all of the roles he plays.
Unsurprisingly, the musical's soundtrack is another highlight, featuring an array of classic hits from the 1980s that have audiences tapping their feet and singing along. Accompanied by a talented live band, the music transports viewers back in time, evoking the same sense of excitement and camaraderie that defined the original Live Aid concert.
Where the show doesn't quite work is with it's book. The production takes a deliberate approach to steer clear of hero worship towards Geldof, opting instead to spotlight the unsung heroes who contributed behind the scenes. However, while the inclusion of fictionalised narratives aims to showcase the efforts of everyday individuals, these characters often come across as shallow and their dialogue occasionally falls into clichéd one-liners. The sentiment is lovely, but it's not hugely impactful. However, the way music is woven into these stories is really admirable; songs aren't just shoehorned in, they're used to develop the stories being told and even seem to take on new meaning in the context of the show.
Another aspect which falls flat is the actual trauma which prompted the concert. There are some attempts at highlighting the pain and horrors of the famine but it feels a bit sanitised and brushed over, so as not to detract from the feel-good feeling the show pushes. Of course no one wants to fetishise the suffering of others, but in omitting a lot of the horrors, it doesn't allow the show to have quite as strong of an emotional impact.
Visually, this show is a feast for the eyes, with dynamic staging (Soutra Gilmour) and vibrant costumes (Fay Fullerton) that capture the spirit of the 1980s. Creative use of multimedia elements (Andrzej Goulding) and striking lighting (Howard Hudson) further enhances the experience, immersing audiences in the sights and sounds of the era. This is a show that really lends itself to touring and could certainly thrive and develop in that capacity, it will be interesting to follow where it goes after this initial run.
Just For One Day may not be without its flaws, but it's a heartfelt tribute to Live Aid and its message of hope and solidarity make it a worthy addition to the stage. For fans of 1980s music and those who fondly remember the original concert, this musical is sure to strike a chord.
★★★★
Reviewed on Thursday 22nd February 2024 by Olivia
Photo Credit: Manuel Harlan
{AD PR Invite- tickets gifted in exchange for honest review}
Thursday 14 March 2019
Madagascar the Musical (UK Tour), New Victoria Theatre | Review
Madagascar the Musical (UK Tour)
New Victoria Theatre
New Victoria Theatre
Reviewed on Tuesday 12th March 2019 by Glenys Balchin
★★★½
Madagascar the Musical was a perfect family night out, full of fun for the young audience as they tapped, cheered and danced their way through the story, against the backdrop of a damp and drizzly night outside the New Victoria Theatre. It has to be said, that many of the adults accompanying their young charges were enjoying the performance of the energetic cast just as much; with the cast bringing alive the animal inhabitants of New York Zoo and the story of their escape into the wilds of Madagascar.
Having seen other Dreamwork productions: The Lion King and Shrek on both film & stage, I was not sure what to expect of Madagascar and unfortunately for me this did not reach the same pinnacle as the others. This was due to lack lustre look of some the main character costumes as well as having pre-recorded music rather than a live band.
The puppetry was well executed and the presence of a human controlling them soon disappeared and captured the spirit of your imagination. A stand out for me was Melman the Giraffe, whose characterisation by Jamie -Lee Morgan was thoroughly enjoyable and he delivered an excellent performance.
Although, the show was packed full of songs, none of them were very memorable. However, the dancing and abundance of energy displayed by all the cast members did not go unnoticed and I enjoyed the choreography, especially the exuberant 'Move It', but on the same note it was a little bit repetitive.
The plot itself is a little thin on the ground but the uncomplicated storyline makes it easy for small children to follow and remain enthralled by plenty of packed action fun and dazzle. Act two was more animated than the first, mainly thanks to the irrepressible, vigorously imaginative artistic style of Jo Parsons playing King Julien.
A little older than many of the children at the theatre, my companion's mane attraction for seeing the show was Matt Terry, so she was a little disappointed he was not playing Alex the Lion at this performance. However, I asked her verdict about the musical and she told me that whilst she had preferred The Lion King, she thought her younger sister (9) would love Madagascar. At the mature age of 14, she enjoyed it but was too cool to get up dance in the aisles with the other children and would certainly not have been happy if I had!
Her conclusion was that it is a song filled production, that features a set that is inventive and all flows well. She loved how the characters were portrayed, in particular the Lion and the Hippo, and she thought that the voice of Marty was the same as the Zebra in the movie.
Overall the production went down well with the younger members of the audience and many of the adults that were there. For me, it lacked soul or a pinnacle to the production, due to repetitive choreography, unmemorable songs and basic costumes, however, the cast were pretty brilliant overall.
Whilst its a three and a half out of five stars for me, I'm sure many of the small children would disagree and give it a full five stars!
Overall the production went down well with the younger members of the audience and many of the adults that were there. For me, it lacked soul or a pinnacle to the production, due to repetitive choreography, unmemorable songs and basic costumes, however, the cast were pretty brilliant overall.
Whilst its a three and a half out of five stars for me, I'm sure many of the small children would disagree and give it a full five stars!
photo credit: Scott Rylander
Thursday 15 November 2018
Hadestown, National Theatre | Review
Hadestown
Olivier Theatre, National Theatre
Reviewed on Wednesday 14th November 2018 by Olivia Mitchell
★★★★★
Folky, emotive, excellently performed and ever relevant, the National Theatre's production of Hadestown is a grand triumph. The folk opera by Anaïs Mitchell started life in 2006 as a small concert which then became an album and gained a cult following. A fully formed, off-Broadway production came from the genius team of Mitchell and Rachel Chavkin who have continued their partnership for this new production which they are taking to Broadway after its run at the National.
Despite a number of iterations, the story has always remained the same and the music, scarily relevant. We follow the story of Orpheus who could charm anyone with his music and Eurydice, the woman who falls in love with him, but whom he loses as he tries to lead her out of the underworld.
This show is wonderfully smart and sharp in the way it twists the original stories to feel current whilst still maintaining their mythic feel. Orpheus and Eurydice aren't magical spirits but a young boy and girl facing famine and the trials of life in a failing world. Hades, ruler of the underworld also rules the mines and offers his people "freedom" by giving them jobs but also imprisoning them behind a wall. Why We Build The Wall must be one of the most topical numbers of the show and it's hard to believe it wasn't written more recently. The parallels with the state of the USA are undeniable.
The sleek but intricate set of Rachel Hauck, takes the tale to a Depression-era bar, where André De Shields as Hermes, narrates the show and introduces us to the meaning's behind what's to come whilst accompanied by a live, bluesy band who are dotted around the stage. His rich voice transports the audience to another world.
The operatic nature comes from the recitatives which pepper the show and provide lyrical pauses from the sometimes repetitive songs. The cast do an absolutely outstanding job of performing the beautiful music, providing spades of emotion. The pureness of the show and performances within it moved me to tears several times and the man next to me must have exclaimed "wow" after at least 90% of songs, so they certainly pack an emotional punch.
Reeve Carney has a soft-rock vibe to his Orpheus, with his spiked hair and calming voice showing why Eurydice would have been drawn to him. Eva Noblezada is on another vocal level with her performance; her voice is supremely clear and the effortless way she delivers every line is truly magical to behold. Every word that leaves her mouth is infused with feeling and the way she idly carries herself round the stage makes her the perfect counterpart to the equally cool, Orpheus. Their sweet duet, All I've Ever Known is a mystical moment.
Reminiscent of The Huger Games' President Snow and the USA's President Trump, Hades is played menacingly by Patrick Page. The weight of his words and performance cut close to home and his growling bass voice enchants everyone who hears it. What's most scary is the way he also reveals a tender side which is mesmerising and terrifying at once. Hey Little Songbird is an example of the way he can wrap someone around his finger; he seduces Eurydice before telling his wife later that the girl means nothing to him. As his half-drunk, half-lonely wife Persephone, Amber Gray gives a masterclass performance. Her high energy moments are contrasted perfectly with moments of sadness which seep out of her and cover the audience in waves.
Chavkin has worked with every performer, set piece, musician and lighting moment to create a show which has us lingering between despair and hope. The sharp choreography from David Neumann works fantastically with the revolve of the Oliver stage and bring an equally frenetic and still mood to the piece.
This is a production all about balance and the entire cast, crew and creative team have done an astounding job of highlighting the pain and beauty which inhabits our world. Mention goes to the Fates (Rosie Fletcher, Carly Mercedes Dyer, Gloria Onitiri) and Jordan Shaw who all caught the eye throughout with their supremely grounded performances.
Hadestown is painfully relevant and beautifully moving. It's a production which will surely be remembered by all who see it, and should be seen by all.
Hadestown runs at the National Theatre until January 26th 2019
photo credit: Helen Maybanks
Monday 21 March 2022
School of Rock (Tour), New Wimbledon Theatre | Review
School of Rock (Tour)
New Wimbledon Theatre
Reviewed on Monday 21st March 2022
★★★★
Many people know and love the hit 2003 film School of Rock. With Jack Black’s iconic comedy, incredibly catchy tunes and a true rock soul it became an instant classic. Fortunately, all of this translates brilliantly to the stage and to the current UK tour which is getting audiences up on their feet and releasing their inner rock god’s.
With music by Andrew Lloyd Webber, School of Rock provides a throughly entertaining night out. The show follows Dewey Finn, a man who’s only goal is to live a life of music. One thing leads to another and he ends up taking the place of his best friend and pretending to be a supply teacher for the elite Horace Green school. There he discovers that he’s not the only one with music in his soul; he finds a classroom full of wonderful musicians who just want to be heard. Thus begins his mission to form a band and win the Battle of the Bands. The entire story is a comedic dream, with a cast of amazing talents and so many great songs.
There’s also astute observations on growing up and the pressures young people are under, as well as many witty and topical comments on the world as a whole.
Of course this show would not be half of what it is without the young performers who make up the class. There’s not a weak link, with utterly superb musicianship being displayed throughout. They all have enough energy to raise the roof off of the New Wimbledon Theatre and also do particularly well in the more moving moments of the show. Special mention must go to Souparnika Nair who shone supremely bright with her spectacularly controlled vocals as Tamika and Emerson Sutton who is a marvel on the drums. All the children are a joy to watch and there's also some exceptional hairography going on throughout!
As Dewey Finn, Jake Sharp carries the musical outstandingly. Not wavering a single moment he’s on stage (and that’s pretty much throughout). He’s hilarious, vocally virtuosic and brings enough of the iconic Jack Black attitude and swagger that we know and love but also adds his own flair and makes the role his own.
Rebecca Lock as Rosalie Mullins the uptight headmistress who also longs to break free is utterly charming. Her vocals are spectacular with her operatic range shining in the Queen of the Night aria and her astounding belt providing a real highlight in Where Did The Rock Go.
You can’t have School of Rock without the music and aside from the formidable onstage musicians, the pit band are stellar. Natasha Katz's lighting is also especially effective and Anna Louizos’ set design works faultlessly to transport us from scene to scene.
This is an incredibly cohesive production that never falters in sleekness but still retains its spontaneous, high octane feel. Become part of the band and go see School of Rock on tour.
photo credit: Paul Coltas
Friday 17 November 2023
Sammy Rae and the Friends at the Hammersmith Apollo Review: A Theatrical, Musical Masterclass
Hammersmith Apollo
Sammy Rae and the Friends took over the Eventim Apollo last night for the London stop on their Camp Tour and what a glorious night it was. Under the magnetic leadership of vocalist and songwriter Samantha Rae Bowers, the Brooklyn-based septet dazzled the audience with impeccable vocals, riffs and infectious enthusiasm. Their unique blend of jazz, funk and folk with a dash of theatre kid for good measure created an electrically warm atmosphere and made the venue feel like it was hosting one big party.
From the get go it's Sammy's utterly magnetic presence which draws you in. Her infectious energy creates an almost instantaneous connection with the audience that continues throughout and provides the ingredients for a really special night. Whether belting out stellar vocals (that sound just as good if not better than on the albums), laying on the stage or bantering with the audience, Sammy Rae proves to be an outstandingly charismatic band leader, who knows how to command a stage.
The Friends, the ridiculously talented ensemble of musicians who accompany the show are as good as it gets. They each get moments to shine and showcase their musical skills which are universally outstanding, and alongside that they get to show their chemistry with one another. The whole group seem to be having the time of their lives on stage, creating a bubbling vibe which reaches into the audience and pulls us into the fold. Positivity is the heartbeat of this group and it's joyous to behold.
The setlist provided a great mix of familiar favourites including Talk it Up and Jackie Onassis as well as some sneak peeks at tracks from their upcoming album. Particularly moving was the soon to be released David, which focusses on men's mental health and is incredibly beautiful and poignant. There were also a couple of covers, with Abba's Lay All Your Love on Me proving a real audience favourite. Throughout, Sammy Rae and Friends effortlessly transitioned between vocal styles and genres, going from calmer more soulful pieces to the exuberant high-octane numbers. The diverse repertoire continually showcased the band's musical aptitude and versatility.
Alongside expert musicianship, the evening was truly a celebration of community, as fostered by the group and the infectious, frivolous atmosphere they crafted. Whilst the songs explore a lot of serious themes, the group maintain a carefree persona and invite the audience to enjoy the moment and celebrate the good things life has to offer.
The Camp tour isn't anchored around a specific album so the evening was a great chance to revel in the signature hits, whilst becoming excited for what's next in the Sammy Rae discography. The combination of Sammy Rae's magnetic stage presence, the exceptional talent of the Friends, a thoughtfully curated setlist and a welcoming crowd, affirmed the group as a formidable force in the music industry and made a promise that we'll be seeing and hearing much more of them. They certainly earned their badges for riffing, raving and raising the roof!
★★★★
Reviewed on Thursday 16th November 2023 by Olivia
Photo Credit: Mia Isabella Photography
{AD PR Invite- tickets gifted in exchange for honest review}
Thursday 14 September 2017
Hairspray (UK Tour), Bord Gais Energy Theatre | Review
Hairspray (Tour)
Bord Gais Energy Theatre, Dublin
Reviewed on Monday 11th September 2017 by Damien Murray
★★★★
Despite highlighting serious issues such as prejudice and intolerance, this show remains a popular, light-hearted and fun night of musical theatre and this latest touring production – courtesy of Mark Goucher, Matthew Gale and Laurence Myers – certainly kept it in this now famous ‘feel-good’ vibe.
Set in Baltimore in 1962, against a backdrop of racial segregation, the simple scenario of wanting teenagers of all colours to be able to dance together on a local TV dance programme with a campaign for integration on the show reflects the wider problem of racial segregation and to a welcomed social change at that time.
Opening with a look down at teenage Tracy in bed before hitting hard with one of the show’s most popular songs, 'Good Morning Baltimore', this production got off to a bright up-tempo start in a busy street scene with the dancers quickly establishing the two main communities of the piece, and – under Paul Kerryson’s direction – this theme was reinforced throughout (e.g. there was the telling line that “the TV is black and white” and the costumes in the jail scene were all black and white for the protesters as opposed to the colourful costumes that were used in the rest of the show).
Staged with a practical and realistic brick house set at either side, this production used mobile trucks and effective projected scenery throughout to keep its fast-moving pace in place, while Philip Gladwell’s bright and colourful lighting plot brought a lot to the show and I loved, at the start of each Act, how the audience was flooded in moving coloured lights to create a fun atmosphere.
As a dance-orientated show, Drew McOnie’s choreography and movement was always slick, lively, entertaining and of its time and it was a brave decision to do a routine at one stage with several basketballs being thrown about on a crowded stage.
While the costumes were overly bright (probably for staging purposes to increase the fun and escapism elements of the production), they – like the hairstyles – were authentic for the era.
The mostly up-tempo score was varied with 60s Pop, Rhythm & Blues, Doo-Wop and Gospel influences, and Musical Director, Ben Atkinson, and his 7-piece on-stage band did well in keeping things moving at a lively pace and with such a full-on sound, despite this show being written for a much larger instrumentation line-up.
While the comic duet, 'You’re Timeless To Me', proved popular with audiences, songs like 'Mama, I’m A Big Girl Now' and 'I Can Hear The Bells' were well staged; the latter having a particular magical feel to it.
However, the big production numbers that really stood out were: 'Welcome To The 60s', complete with the female vocal trio’s sparkling dresses and the floor gobos and wallpaper displaying a popular pattern of the era; the glorious piece of Gospel, 'I Know Where I’ve Been', which almost lifted the roof; and the all-singing, all-dancing finale, 'You Can’t Stop The Beat', with its totally infectious feel-good factor.
Sometimes there is something about the way a particular show is written, or cast, that is simply annoying and, for me, it is why there is a tradition of playing Tracy’s mother, Edna, as a ‘drag-role (i.e. always played by a man), as the character is not a drag queen, but was first played by one).
I feel it adds nothing to the show and is unnecessary … maybe it is just me and I am missing something obvious, but I just don’t get it.
However, that said, this is certainly no reflection on the talents of Matt Rixon, who played the role of the large, kind and shy Edna superbly in what could best be described as a towering performance, especially against the physically smaller, Norman Pace, as her ever-joking but loving husband, Wilbur (maybe that is the reason for the ‘drag-role’?).
Brenda Edwards’ super soulful vocals made her perfect for the part of the sassy and determined Motormouth Maybelle, while the experienced performance by Gina Murray, as the producer and controlling mother, Velma, was a show-stealer here and this scheming villainess must surely be the most glamorous ‘baddie’ of them all.
If Velma was the baddie, then young Rebecca Mendoza was a real ‘goodie’ here, making an impressive professional debut as the big-hearted and teenage Tracy.
All were well supported by the lively ensemble and others like Jon Tsouras’ self-loving Corney, Layton Williams’ energetic and popular, Seaweed, Edward Chitticks’ heart-throb pop star, Link, Aimee Moore’s not so talented and selfish wannabe, Amber, and Annalise Liard-Bailey – another recent theatre graduate – as the dim but beautiful, Penny.
Hairspray is at the Bord Gais Energy Theatre until September 16th before continuing on its tour.
Photo Credit: Darren Bell
Sunday 3 September 2017
In Conversation With... Stacey McClean and Stevi Ritchie | Sword and the Dope | Interview
Sword and the Dope is a musical retelling of the story of King Arthur, written by a dyslexic who can not read or write music but wrote the show as a bet/joke with a friend. It has now gone out for over 150 shows at three different venues prior to this run. Sword and the Dope stars Stacey McClean and Stevi Ritchie who sat down with Rewrite This Story to talk all about the show.
Can you both give a brief overview of your career and what your highlights have been?
Stacey: I was once a member of pop band S Club Juniors. Highlights from my time in the band were probably performing a Wembley and for the Queen at Buckingham Palace. Also getting down to the final 24 and performing for Kylie in Dubai when I went to the judges houses for X Factor.
Stevi: I started performing at the age of 15 at my high school in Grease the musical and played Kenickie. I've always loved performing but got many knock backs. But 2014 I entered the X Factor and since then life has changed.
You’re both musicians, how has the transition to concert performances to musical theatre been?
Stacey: In ways it is very different. Put me on stage with a mic and a band and I can do it with my eyes closed, but theatre is a little more challenging for me. It's a lot more intense, there is a lot of preparation involved and a lot more a stake.
Stevi: For me it's been amazing and I've always loved musical theatre I trained at LSMT. Playing a prince in this show is great and taking me out of my comfort zone but I love it.
Can you explain what The Sword and the Dope is about?
Stacey: Sword and the Dope is a comedy musical with a politics edge. Think Monty Python, Black Adder and politics in a way you have never seen!
Stevi: A sideways telling of King Arthur with a modern day political twist. One review said British humour at it's best with great musical numbers, for me that sums it up well.
What drew you to the production? Are your characters anything like you?
Stacey: I play Sir Lancelot, a Knight who is a huge fan of the Green Party, so nothing like me really as I'm not into politics in the slightest. My character reminds me of Hermione from Harry Potter, slightly irritating, bit of a know it all who no one wants to listen to. The script was what sold it for me initially, I laughed my head off when I first read it.
Stevi: I loved the script and especially the songs they are amazing. The character is similar to me it's cheesy and he loves singing.
The Sword and the Dope is a retelling of the story of King Arthur, if you could retell any story which would you choose?
Stacey: Amy Winehouse, now that would be a fantastic role!
Stevi: I would retell the story of maybe Bruce Lee or Elvis Presley or Freddy Mercury.
Can you sum up the show in five words?
Stacey: Funny, ridiculous, offensive, rude and camp!
Stevi: Witty, camp,cheesy,Funny,eccentric.
Is there a play or musical you’ve seen recently that you loved?
Stacey: I have been to see Our Ladies of Perpetual Succour at the Duke twice now I loved it so much.
Do you have any dream roles?
Stacey: Dream role would probably be Sophie in Mamma Mia, the lead vocal in Thriller and anything Disney!
Stevi: Yes, Thenadier in Les Mis or Kenickie in Grease.
Whats a fun fact people might not know about you?
Stacey: I was one belt away from a Black Belt in Taekwondo when I was 7 but I gave it up because I wanted to sing!
Stevi: Think everyone knows everything about me due to the press and being in the public eye.
What’s your best piece of advice for an aspiring performer?
Stacey: You have to have a thick skin in the industry otherwise you won't survive. The amount of times you get knocked back is not necessarily a reflection of how good you are, and that's something you have to be prepared for. I'm a firm believer that you get out what you put in.
Stevi: Just keep going and be you.
Thank you Stacey and Stevi for this interview. The Sword and The Dope is on at Waterloo East Theatre from Tuesday 5th September until Sunday 1st October.
Interview by Olivia Mitchell, Editor
*this is a sponsored post*
Interview by Olivia Mitchell, Editor
*this is a sponsored post*
Friday 31 March 2023
Cast Announced for 42nd Street Tour
David Ian for Crossroads Live and Jonathan Church Theatre Productions are thrilled to announce that Samantha Womack will star as Dorothy Brock, alongside Michael Praed as Julian Marsh, Faye Tozer as Maggie Jones, Les Dennis as Bert Barry and Nicole-Lily Baisden as Peggy Sawyer in the UK tour of 42nd Street.
The cast will be completed by Sam Lips as Billy Lawlor, with Erica-Jayne Alden, George Beet, Charlie Bishop, Kevin Brewis, Olly Christopher, Briana Craig, Jordan Crouch, Rhianna Dorris, Ashleigh Graham, Alyn Hawke, Aimee Hodnett, Connor Hughes, Deja Linton, Sarah-Marie Maxwell, Greta McKinnon, Ben Middleton, Benjamin Mundy, Anthony Ofoegbu and Jessica Wright.
Following its run at the Marlowe Theatre, Canterbury, the production will visit Leeds, Bristol, Plymouth, Cardiff, Glasgow, Milton Keynes, Liverpool, Manchester, Southampton, Newcastle, Woking and Belfast. Current tour schedule below, with further dates to be announced. 42ndstreettour.com
Samantha Womack most recently starred as the White Witch in The Lion, The Witch and The Wardrobe at the Gillian Lynne Theatre. Her other credits include the role of Rachel in The Girl on the Train both in the West End and on tour, Morticia Addams in The Addams Family UK tour, Nellie Forbush in the Lincoln Center’s production of South Pacific at the Barbican and on tour, and Miss Adelaide in Michael Grandage’s production of Guys and Dolls alongside Patrick Swayze. Her screen credits include Ronni Mitchell in EastEnders, Mandy in Game On, the titular role in Imogen’s Face and The Kingsman franchise.
Michael Praed’s theatre credits include Tom Beauregard in Darker Shores at Theatre Royal Windsor and on tour, George in War of the Worlds at the Dominion Theatre, Alex in Aspects of Love at the Prince of Wales Theatre, Lawrence Jameson in Dirty Rotten Scoundrels, Dexter Haven in High Society and Captain Von Trapp in The Sound of Music all on UK tours. His television credits include the role of Frank Clayton in Emmerdale, Prince Michael in Dynasty and the titular role in Robin of Sherwood.
Faye Tozer is best known as a member of BRIT Award winning pop band Steps. Her theatrical credits include Singin’ In The Rain at Sadler’s Wells and on tour in the UK and Canada, Everybody’s Talking About Jamie at the Apollo Theatre, and touring productions of In The Spotlight, Over The Rainbow, Me And My Girl, Love Shack and Tell Me On A Sunday. Faye was also a runner-up in BBC1’s Strictly Come Dancing in 2018.
Les Dennis most recently starred as Grandad Trotter in Only Fools and Horses The Musical. His other West End credits include Wilbur in Hairspray opposite Michael Ball at the London Coliseum, Amos Hart in Chicago and Bill in Me and My Girl. His touring theatre credits include Art, Legally Blonde, High School Musical 2 and Uncle Fester in the musical comedy The Addams Family. His many TV credits include Michael Rodwell in Coronation Street and a fictional version of himself in Extras.
Nicole-Lily Baisden’s theatre credits include the role of Nabulungi in The Book of Mormon, both in the West End and on tour, and Hope Harcourt in Anything Goes at the Barbican Theatre and on tour.
Sam Lips’ theatre credits include the role of Don Lockwood in Singin’ In The Rain and Scott Hastings in Strictly Ballroom, both in the UK and Canada. His Broadway credits Cats, Chicago, Pippin, Rodgers and Hammerstein’s Cinderella and The Cher Show.
This new production will be directed by Jonathan Church (Singin’ in the Rain, The Drifters Girl) with choreography and design by Olivier Award winners Bill Deamer and Rob Jones, lighting design by Ben Cracknell, sound design by Ian Dickinson and Gareth Tucker, video design by Jon Driscoll, musical supervision by Jennifer Whyte and orchestrations by Larry Blank.
This iconic song-and-dance spectacular features a hit parade of toe-tapping songs, including the title number, “We’re In The Money”, “Lullaby of Broadway”, “Shuffle Off To Buffalo” and “I Only Have Eyes For You”. 42nd Street is a timeless and inspiring showbiz fairy tale that combines breath-taking tap dance routines, backstage intrigue, classic romance and delightful comedy to dazzling effect.
Fresh off the bus from small-town America, young and beautiful Peggy Sawyer arrives in New York City dreaming of her name in lights. She quickly catches the eye of a big-time director and lands a spot in the chorus line of Broadway’s newest show…and when the leading lady gets injured, Peggy gets her shot at stardom.
42nd Street is a larger-than-life, massively entertaining celebration of musicals and the irrepressible spirit of Broadway that’s guaranteed to lift anyone’s spirits.
42nd Street has music by Harry Warren, lyrics by Al Dubin, and book by Michael Stewart and Mark Bramble, based on the novel by Bradford Ropes. Original direction and dances were by Gower Champion. The show was originally produced on Broadway by David Merrick.
The use of all songs is by arrangement with Warner Bros. and EMI Publishing Ltd.
Thursday 19 October 2017
All Or Nothing (UK Tour), Waterfront Hall | Review
All Or Nothing – The Mod Musical (Tour)
Waterfront Hall, Belfast
Reviewed on Wednesday October 18th by Damien Murray
★★★
Having missed its planned opening night due to cast travel problems caused by Storm Ophelia, the touring production of All Or Nothing – The Mod Musical blew into town for its Belfast debut a night later than expected.
Combining the story of a popular music-linked culture with the more personal, tragic and human story of one of its main bands, The Small Faces, who not only spear-headed the movement but also encapsulated its dress style, attitude and music, All Or Nothing is a jukebox musical … with a twist.
For, in the role of the ‘older’ Steve Marriott, Chris Simmons narrates what is essentially Marriott’s own story from beyond the grave as he guides us chronologically through the group’s history in flashback to give us a raw account of what being the front-man of this important British pop group was really like… warts and all.
Apart from Simmons’ believable performance as the ever-present ‘older’ Marriott and the show’s nostalgic and hit-filled score, the key to the success of this show is that it was written by Carol Harrison, who – as a friend of lead singer, Steve Marriott – had real insider knowledge of the man, the Small Faces as a group, their musical and business frustrations and of the Mod movement during its early days.
Named after the group’s biggest hit and only chart-topper (which knocked The Beatles off the chart’s top spot), All Or Nothing is a biographical piece of 60s nostalgia about a generation of free spirits.
Although the set was relatively basic, it was functional and the production not only boasted that most coveted of Mod essentials, a Vespa scooter, but also authentic costumes, hairstyles and dances, with some great choreography, incorporating the trademark 60s moves of the dancers in various television pop shows of the era.
However, this musical is not so much about the Mod movement as it is the disturbing story of a young pop group, covering its many non-glamorous moments from being mismanaged and vigorously exploited by the ‘Al Capone of pop’ – Don ‘I’ll exploit you for all your worth’ Arden – to the slow demise of the group and from Marriott being a trouble maker at school through to his tragic and untimely death.
We learn: how the group got its name; why they were the only group to be banned from performing on Top Of The Pops; why there was a change of style from Mod to Hippie; of Marriott’s relationship with P.P. Arnold; how his ego got too big; and how he got Rod Stewart’s girlfriend … while Stewart got his band.
Playing live and loud, the actor musicians playing the members of The Small Faces – Samuel Pope (young Marriott), Stanton Wright (Ronnie Laine), Alexander Gold (Ian McLagan) and Stefen Edwards (Kenny Jones) – were all exceptionally good, not only at recreating the group’s many hits, but for perfectly capturing the personality, physical appearance and even the individual playing/performance styles of their respective characters.
The show is peppered throughout with humour and references to and appearances by other celebrities from the era like Andrew Oldham, Robert Stigwood, Rod Stewart, David Jacobs, Cathy McGowan, Stanley Unwin and Tony Blackburn (and even including performances from such characters as Sonny and Cher, Dusty Springfield and P.P. Arnold), as the group appears on such iconic television pop shows as Thank Your Lucky Stars, Juke Box Jury, Ready Steady Go and Top Of The Pops.
Ahead of its transfer to the West End for a limited run, it is easy to see why this touring production has been building up quite a cult following. However, offering, perhaps, too much detail (particularly in early scenes), this show could benefit from some cuts and, with such basic sets and sound balance issues between the pre-recorded extracts and the live music, a higher degree of production values could easily make this cult piece the mainstream hit it deserves to be as a biographical/jukebox musical.
This raw, true and sad story has a moving and emotional ending with a heart-breaking solo acoustic extract from All Or Nothing by Chris Simmons before the mood changes in an up-beat hit-filled finale.
All Or Nothing runs at Waterfront Hall until October 19th
Photo credit: Phil Weedon
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