Thursday 30 November 2017
Miracle on 34th Street, Bridge House Theatre | Review
Miracle on 34th Street: A Live Musical Radio Play
Bridge House Theatre
Reviewed on Wednesday 29th November 2017 by Olivia Mitchell
★★★★★
I must admit that I had never heard of Penge until I received my invite to review the new production of Miracle on 34th Street at the Bridge House Theatre. Somehow it had slipped off my radar but I can now say that I'll definitely be visiting again and will be recommending people to take a trip to this gem of a theatre, above the Bridge House pub.
I couldn't have asked for a sweeter, more heart-warming show to welcome me to the Bridge House Theatre; Miracle on 34th Street tells the story of a young girl, Susan who doesn't believe in Father Christmas until she meets a mystical Santa Claus hired by her mother at Macy's. Her perspective and that of those around her begins to change as we follow this magical story which lights the imaginations and warms the hearts of everyone watching.
Adapted from the 1947 Lux Radio Broadcast, this production, directed by Guy Retallack, is staged as a live radio broadcast which is extremely interesting to watch. As the announcer and musical director, Jamie Ross leads Jon Lorenz's fetching score of original songs and new arrangements of Christmas classics with precision and draws the audience in from the moment he gives us the all clear to cheer and laugh to our hearts content.
Guy Retallack's direction makes the piece feel immersive but not conceited. We see the actors 'behind the scenes' when they introduce themselves and joke around with one another when they're sat down, but the performances are top notch and it feels like a well rounded theatrical piece. The various ad's about Penge and use of sounds effects are hilarious and very cleverly done.
The heart and soul of this show are of course the seven member cast. Jamie Ross is versatile and brilliant as he splits himself between being the Foley artist, accompanist, singer and actor! Amy Reitsma is extremely amusing in her various characters, from little children, to a receptionist; each role is unique, witty and she seamlessly transitions from accent to accent. Equally as versatile in his roles is Lewis Rae who gets laugh after laugh as he portrays a number of characters, including the hilariously uptight psychiatrist.
As Fred Gailey, Ellis Dackombe is charming and likeable with some stunning vocal moments. His chemistry with Lowenna Melrose as Doris is touching and they bounce off one another very well. Lowenna's transition from the straight-laced divorcee to the festive woman who loves and believes in Santa Claus is lovely to see unfold and she gives the role plenty of heart as does Emily Carewe as her daughter, Susan. Emily is suitably childlike whilst humourously grown up at the same time. As her belief grows, we see the joys Christmas really can bring to children around the world.
As our main man, Kris Kringle, Richard Albrecht is fantastically mystical and magical... I began to believe he really is Santa! The tight-knit cast work brilliantly together and its joyous to watch them perform.
I can't find a reason why you shouldn't see this show. It's festive, warm and provides the well needed break we all crave during these somewhat trying times! If you want to have your heart warmed and your imagination opened then get along to South East London and enjoy this sparkling, festive show!
Miracle on 34th Street runs at the Bridge House Theatre until December 23rd.
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.
Wednesday 22 November 2017
The Little Mermaid (UK Tour), New Victoria Theatre | Review
The Little Mermaid
New Victoria Theatre
Reviewed on Tuesday 21st November 2017 by Melanie Mitchell
★★★★★
Being a ballet novice, having only seen 2 before, I was a little unsure what to expect from
this production. I have to say, that in my humble opinion, The Little Mermaid is a masterful
adaptation, especially as the idea to create a completely new ballet was only borne in
September 2016. David Nixon and his team have produced a stunning piece of work in only
13 months.
Most of us know the story of The Little Mermaid from the now famous Disney film and show,
however those of us, perhaps a bit older will remember the much darker and sinister tale by
Hans Christian Anderson. This is the tale on which the production is based.
After seeing the picture of a handsome young prince in a locket, Marilla a young mermaid
falls in love. On rescuing the prince from a shipwreck she longs to be with him and sacrifices
her beautiful voice in exchange for human life. Although she is able to walk, every step
causes her unimaginable pain, yet she is unable to cry. The principle dancer made this
feeling so palpable with her agonised movement and silent screams.
Disorientated the prince awakens and mistakes a passing girl for the owner of the beautiful
voice he had previously heard, the mermaid is now unable to tell him that it was her, shattering her dreams and aspirations. This production doesn’t have the happy ever after of
the Disney story and is true to the Hans Christian Anderson original with its moral core.
The staging and costumes are stunning, with the colours and fabrics perfectly reflecting the
magical dwellers of the sea and the hard solid land. Absolutely transporting the audience to
the ethereal reflective underwater world.
The dancers especially the principles and soloists are magnificent, moving with absolute
grace and ease. The strength of the male dancers is incredible with the females looking
absolutely weightless as if under the waves at times. I wondered how it would be possible to
give the impression of the graceful movements of the mermaids. This has certainly been
achieved and it is truly mesmerising.
The music, an original score composed by Sally Beamish is hauntingly beautiful throughout,
perfectly suiting and setting the tone and mood to every scene. It is played wonderfully by
the Northern Ballet Sinfonia, with John Pryce-Jones as its musical director.
This World Premiere production makes for a truly magical evening at the theatre. If you are
already a lover of the ballet, a newcomer as I am, or have never seen one, then I urge you to
see it if you can and be immersed into the mystical, magical underwater world.
Tuesday 21 November 2017
Flashdance (UK Tour), Liverpool Empire Theatre | Review
Flashdance (UK Tour)
Liverpool Empire Theatre
Reviewed on Friday 20th October 2017 by Becca Cromwell
★★★★
Legwarmers primed (not really!) I headed to Liverpool for a night at the theatre. This time, it was to see Flashdance, the stage adaptation of the 1980s hit musical originally starring Jennifer Beale.
This production stars Joanne Clifton (best known for Strictly Come Dancing, Thoroughly Modern Millie and soon to star in Top Hat) as the energetic and ambitious Alex Owens and Ben Adams (A1) as the charming Nick Hurley.
With direction from Hannah Chissick and choreography by Matthew Cole, I had high hopes. From the moment the show started, I was gripped. I must admit, I had never seen Flashdance and all I knew of it was the water scene and a couple of 80s hits, and I was thoroughly impressed.
Joanne Clifton wowed as Alex, a welder with dreams of being a professional dancer. From the opening note, Clifton impressed with her vocals and astonished with her impeccable dance skills. She really is one to watch.
Ben Adams was spectacular as Nick Hurley, the latest of the Hurley family to own the factory Alex works in. His acting was believable, and his singing was, of course, perfect. Upon hearing that he was in a boyband, I was sceptical but he blew the sceptics away within minutes of stepping on the stage. The audience members around me had come not knowing who he was, and left impressed. As did I.
The show included many of everyone's 80s favourites, including 'What a Feeling', 'Maniac', 'I love Rock and Roll' and 'Gloria'. These were executed well, and pleased the crowd massively. The rest of the numbers worked nicely, with the number 'Here and Now' standing out amongst the rest.
This scene between Alex (Clifton) and Nick (Adams) is your classic musical theatre romantic duet between two characters realising they are in love and who are wanting to savour the moment forever. The vocals from both are almost flawless, and the crowd loved it. 'Here and Now' has just been released on iTunes, sung by Clifton and Adams, and I urge you all to buy it.
Alex's friends Gloria (Hollie-Ann Lowe), Kiki (Sia Dauda) and Tess (Demmileigh Foster). Their vocals were outstanding and the dancing incredible. The entire cast are extremely talented performers. Colin Kiyani played Jimmy and his performance was thoroughly enjoyable - I enjoyed the cheesy jokes! Carol Ball was fantastic as Hannah and Sasha Latoya played Louise, whose vocals shone in the finale.
There were unfortunately a few technical issues, with one of the two screens not working properly and appearing to be loading every minute or so and some lines being missed by microphones. However, these did not distract from the outstanding performances given by the cast, nor did they let that stop them. The atmosphere and energy were incredible from the start until the very end. The audience were up dancing along to the megamix during the curtain call, and left thoroughly entertained.
Flashdance continues its UK tour into 2018.
Saturday 18 November 2017
Rachel Tucker with Stagebox Choir, Shoreditch Town Hall | Review
Rachel Tucker with Stagebox Choir (Concert)
Shoreditch Town Hall
Reviewed on Friday 17th November 2017 by Olivia Mitchell
★★★★★
If you're a regular reader of this site, you'll probably have twigged that I'm a huge fan of Wicked star, Rachel Tucker. Most recently I saw her perform as a special guest at Kristin Chenoweth's concert and previously in Wicked and her solo concerts at the Zedel; every single time she has completely blown me away with her effortless performances and last night was no exception.
Rachel is a masterful performer, both in terms of her faultless vocals and her ability to embody and live every song she sings. She is magical in the way she transports the audience into her thoughts and make us feel the emotions she's portraying as if we're experiencing them ourselves. The way she interprets songs is unique, extremely moving and I find it incredibly impressive how she is able to switch so quickly from one mood to another.
During act 2 Rachel came off the stage to perform an a capella folk song which had the audience in enraptured silence but within moments of finishing she snapped back to her larger-than-life, joyous self and had the audience laughing out loud. That ability to manipulate an audience's emotions is truly remarkable.
The set list for the night included something for everyone from theatre classics such as 'Children Will Listen' to pop songs and a personal favourite, her own composition 'I'm Falling' which always wows me. This varied programme meant the night flew by and by the time it came to her second encore we still wanted more! Other stand outs included 'The Man That Got Away' and Kris Rawlinson's stunning arrangement of 'No Good Deed' which brings new life to the Wicked classic. Kris and Rachel make the perfect duo, bouncing off one another both comedically and musically. Also great, were Jodie Steele and Amanda Coutts who doubled as stage managers and back up singers- 'Proud Mary' was brilliant and got the entire audience on their feet!
With a few ex-Elphaba's and Galinda's in attendance, it was Emma Hatton who took the stage as the special guest of the night. Dressed in a suitably emerald dress, Emma joined forces with Rachel to perform a jazzed up version of 'I'm Not That Girl' and a lively version of 'That's Life'; the two work wonderfully together and it's so enjoyable to see them having fun on stage together. Also joining Rachel were the Stagebox choir who helped out with a notably touching performance of 'You Will Be Found' from Dear Evan Hansen.
Overall it was just a joyous night of glorious music. Rachel is one of the most versatile performers I've seen; funny, relaxed and charming, her voice is like no other. Powering through every song with her own personal style- belting it out and emotionally reigning it in with equal skill and motivation. Rachel is at the top of her game- a master of her craft who continually delivers time and time again. This was billed as Rachel's 'biggest solo concert to date' but I sincerely hope things get bigger and bigger for her as she continues to charm and wow audiences around the world... but preferably mostly in London so I can be at them all!
Watch my vlog of the concert here
Watch my vlog of the concert here
Friday 17 November 2017
Everybody's Talking About Jamie, Apollo Theatre | Review
Everybody's Talking About Jamie
Apollo Theatre
Reviewed on Wednesday 15th November 2017 by Olivia Mitchell
★★★★
Everybody's Talking About Jamie has been one of my most highly anticipated shows of 2017 since I heard the rave reviews during it's run at the Sheffield Crucible. Based on real life events, it tells the story of 16 year old Jamie New, who's dreams are a little different to his classmates. Chronicling the struggles of growing up, issues with family and being accepted, it's the warm, British, comedic show the West End has been waiting for.
The real story was adapted for stage by composer Dan Gillespie-Sells and Tom MacRae and is their first foray into the world of musical theatre.
Dan's soundtrack is sublime with a faultless mix of upbeat, pop numbers such as 'You Don't Even Know It' as well as heart-achingly beautiful ballads, my personal favourite being 'Wall in My Head'.
Tom MacRae's book is equally fantastic; humour is perfectly balanced with drama and pain to make the show ebb and flow seamlessly. Of course the production is camp but it's not over the top or forced and the classroom scenes are just hilarious. Nothing is overdone and despite some comments falling slightly flat, every moment of dialogue is truly realistic- it feels like watching real life play out rather than performers on a stage.
On the surface this is a show about drag but the real focus is on the relationships between Jamie and his peers and specifically between him and his mum Margaret, played wonderfully by Josie Walker. It's wonderful to see a parent so supportive of their child even though they're not what people may perceive as 'normal', and it's made even more special by the fact that we know it's based on a true mother/son relationship. Whilst Margaret and Jamie's struggles may contrast to others, the story shows just how important mum's, and not just mum's but whoever your supports in life, are. We all fight with and irritate those who are close to us but that's just because we love them and it's so joyous to see this love played out so sweetly and genuinely on stage.
John McCrea is faultless as Jamie, even in his ludicrously high stilettos! He is quick witted, sarky and exudes life and joy- I want to be his friend! His voice is great and he just does the most outstanding job every second he's on stage (and he's basically on stage every second.)
His best friend and partner is crime, Pritti is performed fantastically by Lucie Storthouse. 'It Means Beautiful' is sung wonderfully by her and the extremely clever staging adds a magical element to it. It almost becomes a prayer and is a touching scene.
Katie Prince's unique choreography fits the show perfectly and adds a fresh and modern feel. The contemporary dance during 'If I Met Myself Again' is breathtaking and certainly a standout moment of the entire show.
Overall, Everybody's Talking About Jamie is the perfect injection of life, modernity and sass that the West End is craving. It's a story about being yourself no matter what and facing your fears head on. For a contemporary, spectacular piece of British theatre, get yourself along the the Apollo theatre and start talking about Jamie!
For tickets and information about the show, visit https://www.londonboxoffice.co.uk
photo credit: Johan Persson
*disclaimer: this was a preview performance so elements of the show could change*
Thursday 16 November 2017
Mamma Mia (UK Tour) | New Oxford Theatre | Review
Mamma Mia (UK Tour)
New Oxford Theatre
Reviewed on Wednesday 15th November 2017 by Michelle Pont
★★★★★
You don’t have to be an ABBA fan to get caught up in this wonderful show now showing at the New Oxford Theatre. Full credit to the talented performers who, with boundless energy, dance and sing their way through the show, giving life to the music and story line.
This performance, originally from London’s West End, really shouldn’t be missed by any musical lover. Choreographed to perfection, by Anthony Van Laast, it’s a pleasure to see every movement being part of the performance. Stage sets are danced in and off with seamless effort.
The boys in the ensemble and Louis Stockil as Pepper and Brad Veitch as Eddie take the show as eye candy. They manage doing some amazing acrobatics including impossible leaping press-ups, high kicks and exceptional dance moves. The extra bonus was their display of their bare chests and muscles. Hot stuff!
Stand out performances were from Kay Milbourn, as Donna. She punched out some wonderful songs. Her performance was natural and believable. Watch out for her rendition of ‘The Winner Takes it All’, which she sings with such conviction and meaning, managing to bring a tear to my eye.
My other stand out performance was from Jamie Hogarth playing Harry Bright and singing ‘Our Last Summer'. Jamie’s performance is of course wonderfully acted and he has a lovely voice. And of course, the brilliant performance of Rosie by Gillian Hardie along with her side kick Emma Clifford as Tanya. Gillian put her soul into the performance and won the audience with her comic portrayal. Emma strutted the stage giving her character the panache it deserved and keeping the comic timing and performance well heeled.
Christopher Hollis’ portrayal of Bill Austin, an Aussie rough neck was excellent. His accent was faultless and in fact I thought he was Australian. His performance also was faultless. The whole cast are brimming with talent. The Orchestra didn’t miss a beat and were also outstanding.
A standing ovation was given at the end of the show and it was well deserved. Two encores were fabulous which saw all six main characters dressed in the iconic sparkly ABBA jump suits. I can’t help but think they all enjoyed wearing and performing in these outfits.
No matter what you think of ABBA’s music, this show puts meaning to their songs and crafts an enjoyable night of entertainment- get yourself there! The tour is performing around the country 2017/18 so there is still time to catch it. Praise to all involved in this production.
Mamma Mia runs at the New Oxford Theatre until November 25th before continuing its tour.
Photo credit: Brinkhoff M Âgenburg
Tiger Bay, Wales Millennium Centre | Review
Tiger Bay the Musical
Wales Millennium Centre
Reviewed on Wednesday 15th November 2017 by Elisha Harris
★★★★★
Tiger Bay is a prime example of ‘deeds not words’. I am a Cardiff girl myself so to be able to return to my home City and watch the most beautifully portrayed musical, about the history of my heritage was just magical.
Every cast member had exactly the right accent, whether natural or not and it was held throughout. They truly captured the Welsh essence needed to make the show as authentic as it could be. The songs are beautiful and reminded me a little of Sweeney Todd at times.
Love, passion and heartbreak are just 3 of the elements that bring this radiant story together. The storyline is quite similar to Les Miserables in the way it develops; just substitute the french with the welsh and you're half way there!
I was blown away by the voices of each and every cast member in this production but the two that stood out for me have to of been Vikki Bebb and John Owen-Jones whom play Rowena Pryddy and John (Third Marquess of Bute). John portrays a stern, powerful Marquess yet when he sings, it is tear-jerking and the contrast between the two is stunning. His emotion, and passion during each moment of his performance had me welling up in seconds. He most definitely lived up to what I expected and more.
Vikki, from the moment she started singing took my breath away. From her note perfect harmonies to her precisely timed dancing she stole the show. I couldn’t think of anyone better to bring the character of Rowena to life- she does a beautiful job.
I had the pleasure of having little Ruby Llewelyn as Ianto for last nights performance, had you not opened your eyes, you’d never believe she was merely 11 years old. Her confidence and empowering stage presence is overwhelmingly brilliant and she has the sweetest voice -worth the trip alone.
There are an additional 10 ‘waterboys’ in the cast ranging from ages 10-14, each brought such character and the harmonies were absolutely mesmirising.
Zoë George as one of the shop girls is highly impressive also, with her beautiful voice and stage presence. I have seen her in a few other productions over the years and she never disappoints! All I can say is the casting director deserves a pat on the back, as each and every role was cast to perfection.
Playing at Cardiff Millennium Centre until 25th of November. Tiger Bay is a true gem, and you’d be a fool to miss it!
photo credit: Polly Thomas
Wednesday 15 November 2017
Cabaret (UK Tour), Edinburgh Playhouse | Review
Cabaret (UK Tour)
Edinburgh Playhouse
Reviewed on Tuesday 14th November 2017 by Liv Ancell
★★★★★
With the two headliners of this show – Will Young and Louise Redknapp - being bona-fide British primetime celebrities and regular tabloid fodder, its no wonder that Edinburgh turned out in force to see Cabaret, director Rufus Norris’ latest show.
While Louise and Will may have been the initial draw for some, they will have no doubt left the theatre feeling utterly bowled over by the timeless storyline, endearing characters, and unbeatable music of Cabaret.
What a test of stamina this show is for all involved! The frantically pulsating and contorting cast whirl around the stage at an alarming rate. The choreography was a level above anything else I’ve seen in recent times – the cast members pulled off gruelling moves which were positively acrobatic and perfectly timed.
Belting out Cabaret’s signature songs must be a challenging task; this musical feat was made even more impressive while simultaneously cartwheeling, gyrating, prancing and frolicking. Such sophisticated choreography from Javier du Frutos – especially in Wilkommen and The Money Song – really reinforced this show’s status as world-class.
Louise Redknapp gave everything to this performance, and the volumes to her voice will be sure to silence anybody who may have been skeptical about whether her popstar voice would survive a stage performance. From charming to sultry, to showgirl and seductive, her singing was a complete triumph. Charles Hagerty played Clifford Bradshaw wonderfully; embodying the morally righteous and somewhat naïve American author. His acting was second to none and he subtly conveyed an impressive range of emotions on stage.
This being said, Will Young is just in a class of his own. He wears the garb of the inimitable Emcee with utter brilliance. With incredible expression and by masterful voice control, Will gave the ultimate portrayal of the quirky and coquettish clown of the Berlin cabaret scene. His Emcee was equal parts playful and dark, and his German accent and sing-song voice was perfectly measured.
The raciness and nudity in the show was perfectly balanced by a more despairing and serious storyline. Nazi undercurrents perfectly underpinned the storyline, with the rising prejudice of the time tastefully portrayed and immortalised in this production. The ever endearing Herr Shultz – our patient and adorable Jewish man – was a stand-out character, and Linal Haft gave a commendable performance in this crucial role. His companion, Fraulein Kost (Basienka Blake) was equally commanding, and she too gave a convincing performance, not breaking her accent even during song.
The final scene – which I won’t give away – was sad and beautiful. The high tempo energy of Cabaret couldn’t keep going forever, and it left viewers with a lesson in history to remember. This show is incredible; it will invoke all sorts of emotions, including wonder, amazement and awe. I’d highly recommend going along if it comes to a theatre near you next; it’s absolutely unmissable!
Cabaret is at the Edinburgh Playhouse until November 18th before continuing its tour.
Photo credit: Pamela Raith
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