(A)musings

EAST IS EAST - THEATRE REVIEW

2015-01-15T14:03:00.000+00:00

EAST IS EAST AT THE NEW ALEXANDRA THEATRE, BIRMINGHAM

Theatre Run: Tuesday 13 - Saturday 17 January 2015
Performance Reviewed: Wednesday 14 January (Press Night)

Reviewed by Kyle Pedley

At the risk of going there, it’s something of a charged time to be experiencing a show like East is East, given the recent political and social bubbling over the Charlie Hebdo shootings in Paris. As every Tom, Dick and armchair Harry attempts to define and dictate what Islam is and Muslims are, the answer, it seems, lies in a show set in a British Muslim household in the early 1970’s, based on a 1990’s film of the same name. It’s startling, and in a strange way quite refreshing, seeing how timeless and cyclical some of the central issues and themes are.

Mercifully, East is East remains confidently self-contained, and whilst granted there are the odd throwaway inferences of a ‘them versus us’ mentality to the wider British population, generally this is a show predominantly centred on a Muslim, Pakistani family dealing with a slew of issues and problems both religious and familial within and of itself. It’s infinitely more focused and compelling as a result, as proud, principled business owner George Khan (Ayub Khan Din, writer of both the play and the film) struggles to accept the changing times, personified in his six spirited, wilful and frequently disobedient children. Regimented, stubborn and fiercely proud, Khan is a skilfully written and masterfully played character - at times an aggressive, blindly ignorant borderline-tyrant, at others a whimsical, charming family man evidently trying to do best by both his family and religion in the way he has been raised and taught to do so. Neither extremity is painted as absolute, and in many ways Khan’s plight is the shows most compelling and touching thread, especially in this production. As he sits transfixed in front of his TV following the ensuing Indian-Pakistan civil war crises, a reporter cites ‘Pakistan will never be the same again’, and the analogy couldn’t be clearer. It’s the Pakistan of Khan’s home, head and heart that are just as much under attack, by the modernity and will of his own children, as any affairs on foreign soils.

‘With Muslims, we are all the same, nobody is different,’ it’s a passionate plea that becomes more a sad lament as Khan is forced to open his eyes to how different his own family actually are from him.

Caught between father and children is Jane Horrock’s long-suffering wife and mother Ella, who has already gone through the ordeal of her eldest leaving home and being disowned due to his defiance of his fathers will (opting to become a hairdresser!) and the stigma that comes from being a white, British wife of a Pakistani man with a previous marriage back home. Horrocks plays the role with conviction and plenty of levity, particular highlights being her regularly putting the world to rights and bemoaning the family problems with friend and co-worker Annie (a fantastic Sally Bankes, commanding great presence and comic timing). In the second Act in particular, events fluctuate from the intensely dramatic to comically absurd at the drop of the hat, as George attempts to marry two of his sons of to a wealthy visiting business associate. Horrocks navigates the U-turns and sharp changes in tone with aplomb, handling both the laughs and gasps with confidence.

The Khan offspring are something of a mixed bunch, but mercifully are each well-defined and distinctive as characters. Meenah (understudy Deepal Parmar in the performance reviewed) is a feisty teenage girl who would rather wear jeans and a t-shirt instead of a sari, whilst facing accusations of ‘looking like a prostitute’ for simply wearing her school uniform. College student Saleem (Nathan Clarke) is an aspiring artist having to uphold the masquerade of being a student engineer, Maneer (Darren Kuppan) is the more dutiful, religious and empathetic son, whilst ladies man Tariq (Ashley Kumar) and eldest remaining Abdul (Amit Shah) are facing the prospect of impending arranged engagements against their wishes. The tension, conflict and at times toxic nature of the family unit has manifested itself in the form of the youngest, Sajit (Michael Karim) aka ‘Twitch’, named after his nervous disposition, who hides himself away behind an oversized, zipped up parka coat at all times to hide from the unpleasantness around him. Of the six, Clarke, Kuppan and Kumar give the strongest performances by some measure, but as mentioned they are all well realised and rounded characters.

As the Khan brood frustratedly debate in the family chip shop whether they are Pakistani, ‘Eurasian’ or ‘Anglo-Indian’, and each in one way or another find themselves growing increasingly apart from and jaded by their fathers views and life plans, it becomes clear they simply want to be. Yes, religion and the ‘Pakistani way’ are regularly cited as the tentpole for Khan’s fierce principles, and they are certainly the germ of his discontent, but as the play progresses it becomes clear this is just as much a study of one generations alienation with the next, a fathers inability to relinquish control, and the dividing force children can become between their parents, and it makes the overall exploration all the more intriguing and universal as a result.

The production, touring after it’s critically acclaimed run at Trafalgar Studios as part of their latest ‘Trafalgar Transformed’ season, boasts slick production values, particularly in its suitably claustrophobic set design by Tom Scutt which magnifies the focus on and tension between the family as a splintered unit. And for all of the heavier issues and parables of a broken home, East is East is a show which casts plenty of light with its shade, and for each moment of violence or tension, there are at least half a dozen genuine, organic laugh-out-loud moments to ensure nobody takes it all too seriously.

It may not re-invent the wheel, but let’s face it, George wouldn’t approve of such a radical idea anyway… unless, of course, his engineer of a son Saleem was given the job, of course. It is, however, poignant, affecting and resonant on a number of levels, whilst still offering plenty of laughs. East is East remains a highly effective slice of theatre, and indeed Britishtheatre at that, that mercifully has the confidence to not use religion as either excuse or punch-bag, but rather gradually dismisses it in favour of focus on the people and characters on stage and their own shortcomings and conflicts. It is amplified considerably by strong central performances and an overall maturity and respect for both subject matter and audience that few mainstream productions of its calibre afford.

Something of a cult classic that remains both surprisingly relevant and easily recommendable.

(A)MUSINGS RATING - * * * * (4 out of 5 Stars)

EAST IS EAST is running at the NEW ALEXANDRA THEATRE, Birmingham, from Tuesday 13 to Saturday 17 January 2015. The tour then continues to Richmond at the Richmond Theatre and Manchester at the Manchester Opera House.

CLICK HERE for more information on the show's run at the New Alexandra Theatre and to book your own tickets!

Alternatively, telephone the theatre's booking line direct on 0844 871 3011.

For more news, reviews and exclusive content, be sure to follow Kyle on Twitter!

Press tickets for this performance of East is East were provided courtesy of the New Alexandra Theatre directly. The author gratefully acknowledges their generous invitation.

JACK AND THE BEANSTALK - THEATRE REVIEW

2014-12-23T13:47:00.000+00:00

JACK AND THE BEANSTALK AT THE BIRMINGHAM HIPPODROME

Theatre Run: Friday 19 December 2014 - Sunday 1 February 2015
Performance Reviewed: Monday 22 December (Press Night)

Reviewed by Kyle Pedley

Matt Slack teaches us midway through Jack and the Beanstalk, tongue firmly in-cheek, that the counterpart to ‘Deja Vu’ is ‘Vuja De’, aka ‘I’ve never been here before’. It’s sold as funny, but in many ways it’s a coupling sentiment that encapsulates the entire panto ethos - plenty of the familiar, lashings of tropes, essentials and audience-favourites, all thrown into a suitably barmy melting pot with the new - new faces, and incremental new approaches to the same old handful of fairytale yarns. For some, the balance is not so even, leaning on the pulling power of star wattage, the genuine fondness of the public for panto itself, or a slew of tried-and-true set pieces and old reliables in the gag department.

Mercifully, no such accusations of complacency can be laid at the door of the Birmingham Hippodrome, where it’s 2014/15 pantomime, Jack and the Beanstalk, invigorates the formula with a resplendent, pitch-perfect cast, a host of dazzling technical innovations and sky-high production values and an all-round pantomime extravaganza of truly impressive proportions. In fact, it is in how masterfully it captures that balance of old and new, and executes itself as both a thoroughly traditional pantomime, with all of the beloved staples present and accounted for, through to implementing a slew of variety entertainment from music, slapstick and even Paul Zerdin’s wonderful ventriloquism, to the aforementioned technical wizardry that makes it such an irrepressible delight. Everything here is sheened, polished and perfectly judged, whilst naturally allowing plenty of room for intriguingly ambiguous corpsing and improv.

The Hippodrome oft boasts a cast to be envied, and this year is no exception. Former ‘Loose Woman’ Jane McDonald headlines as The Enchantress, bringing the same down-to-Earth, unassuming charm and matter-of-factness that won her a legion of fans on the ITV show and beforehand on BBC’s The Cruise. Some of McDonald’s own material and hits have been consciously woven into the musical interludes of the show, including a sensational, roof-raising rendition of ‘This is the Moment’, as her Enchantress summons an enormous, in-auditorium beanstalk toward the end of the first Act. Duncan James, similarly, is brilliant in the titular role of Jack, proving to be the ideal straight man (avoiding the shows own innuendos, there) amidst the mayhem and anarchy around him. He cuts a dash, sings a dream and is the perfect panto hero, though he does get a few nice moments to ratchet up the do-good, almost all-American cheesiness of the role. And, of course, few were complaining (grizzled husbands, aside, perhaps) when he treated the audience to a brief glimpse of himself sans-shirt.

Chris Gascoyne provides the show with a wonderfully detestable villain in the form of the Giant’s lackey ‘Fleshcreep’, including an Act II opening number which is made suitably repulsive by the presence of hideous (albeit impressive) trolls, striking costume design and Gascoyne’s own vocals. And, naturally, the Corrie quips are there throughout. Not that the audience fare much better, with plenty of jokes and digs being cheekily aimed at Midlanders and Birmingham in general. A well-timed jab at Dudley (my hometown) was particularly delicious. Panto regular Robyn Mellor once again impresses as Jack’s love interest Princess Apricot, and if I wrote in my review of Sleeping Beauty at the Wolverhampton Grand last year that Mellor has the clear makings of a Glinda the Good a la Wicked and a West End star in general, then the past year has clearly done nothing but cement this, with a beautiful duet of Beyonce’s ‘Listen’ with James proving to be one of Mellor’s rather stunning highlights.

Arguably, however, the true stars of the show are Gary Wilmot, Paul Zerdin and Matt Slack, who resume comedic duties after their hilarious turns in Snow White last year (which itself is quite wittily referenced here). Zerdin is Simple Simon, though brings along a duo of ventriloquist puppets, most notably mischievous young Sam. Zerden’s work is pure, delightful panto - and refreshingly offers as much for the adults as it does the younger in the audience. Most of his cheekier lines and material will sail over the heads of children, but be warned there is nonetheless the odd ‘crap’ and ‘arse’ thrown in that may be picked up on, and even the old ‘Shitzu’ gag. Matt Slack as Silly Billy, meanwhile, repeatedly steals the show with disarming ease, a mixture of inexhaustible physicality, seemingly endless impressions and hilarious facial expressions and razor-sharp timing making him a veritable tour-de-force of funny and silly on stage. Similarly, he isn’t afraid to venture into risqué territory and can sail close to the wind at times, but never to the point of offence or concern.

In fact, it is incredibly refreshing to have a panto that is so completely willing to fire on all cylinders - much like some of the later moments, particular during the 3D sequence, being quite intense and potentially frightening for very young audiences. None of this is a bad thing though, and Jack perfectly demonstrates that panto doesn’t need to be watered down or condescending. Give me 3D spiders leaping out from a screen, loud explosions, towering giants and the odd joke about the size of a man’s ‘curly wurly’ over tired endless-knicker gags any day. The audience, quite evidently, felt likewise.

Gary Wilmot, resuming Dame duty, gets credit for lending a gentle sweetness and nice to his Mrs Trott, mother of Simon, Billy and Jack. Wilmot is surprisingly sincere and endearing as the well-meaning farm owner and maternal figure, which is fortunate, as it’s difficult to shake the impression that had Wilmot camped the role up to extremities alongside Slack and Zerdin’s work, the whole thing would have been overkill. Instead, a delightful musical number of Mrs Trott introducing us to her menagerie of farm animals is accessible, family-friendly fun, and of course, here in panto land, culminates in a stage full of cows, pigs and other barnyard critters moonwalking to Michael Jackson. Later on, Wilmot inherits the old reliable ‘story told through the names of chocolate bars’ routine, which, whilst familiar, he nevertheless pulls off at pace and without fumble.

There is a whole host of fantastic set pieces and stand-out moments worthy of praise in Jack and the Beanstalk, many of which would be the isolated highlight in a lesser production. But here, the surprises and spectacle keep on coming. The show, like it’s namesake, is a grower (do with that what you will…), and each scene of exuberance and hilarity is instantly outdone by what follows. From an inspiredly bonkers re-imaging of the 12 Days of Christmas, to a brilliant Miss Saigon homage which quite literally soars out into the audience (answers on a postcard) and even a towering, animatronic giant, the sheer ambition and invention on display is difficult to imagine being surpassed in the panto world.

The Hippodrome pantomime is regularly touted as the biggest in the UK. Whilst, statistically speaking, this is supported and validated by record-breaking sales and attendance figures, it is the calibre of production that truly earns the plaudit - the sheer scale and splendidness of what QDOS productions bring to the stage each year, and Jack and the Beanstalk is undoubtedly no exception. In fact, it is by some measure the most all-round dazzling, entertaining slice of panto goodness in many years. With a dream cast, a terrifically judged bricolage of comedy and set pieces that appeal to all without feeling filtered or dumbed down, and production values most other pantos would dream of, Jack and the Beanstalk is an absolute must-see for all panto enthusiasts, and the one-stop ticket for all-round family entertainment and side-splitting fun in the Midlands this Christmas and New Year.

(A)MUSINGS RATING - * * * * * (5 out of 5 Stars)

MUSINGS

+ Dream panto cast across-the-board

+ McDonald, James and Mellor's musical numbers

+ Matt Slack is a thing of pure comedy genius

+ Huge levels of audience interaction

+ Technically and artistically dazzling

+ The greatest panto in all the land!

- May be a little too intense for the very young in places

JACK AND THE BEANSTALK is running at the Birmingham Hippodrome from Friday 19 December to Sunday 1 February 2015.

CLICK HERE for more information on the show's run at the Hippodrome and to book your tickets!

Alternatively, call Ticket Sales directly on 0844 338 5000 now to book your tickets!

For more news, updates and exclusive content from (A)musings, be sure to 'like' our Facebook page and follow Kyle on Twitter!

Press tickets for this performance of Jack and the Beanstalk were provided courtesy of the Birmingham Hippodrome directly. (A)musings Media gratefully acknowledges their generous invitation.

JERSEY BOYS - THEATRE REVIEW

2014-12-12T16:35:00.000+00:00

JERSEY BOYS AT THE NEW ALEXANDRA THEATRE, BIRMINGHAM

Theatre Run: Tuesday 9 December 2014 - Sunday 4 January 2015
Performance Reviewed: Wednesday 10 December 2014 (Press Night)

Reviewed by Kyle Pedley

There’s something regrettably formulaic and inevitable about most biographical actor-musician pieces of theatre of late. It’s a format that often leans far too heavily on familiarity with its soundtrack and the spectacle of a Bolan or Lennon being re-imagined and strutting around on stage, and the notable casualty comes in the form of any compelling narrative shape or use of theatre as an artistic medium in it’s own right. Truth may indeed be stranger than fiction, but when so many of these shows race through the ‘true story’ with haphazard abandon, presenting more a career ‘greatest hits live’ than a focused piece of theatrical storytelling, it isn’t hard to end up feeling your evening would have achieved the same effect in the hands of Youtube or Google. The customary ‘talented boy does good, hits the heights of fame, leads to personal/family/suffering wife problems’ second Act trope being rolled out ad infinite usually only underlines how de rigeuer and stale it has all become.

It’s a testimony then, to the conviction, execution and polished slickness of Jersey Boys that all of the above to some extent applies here, and yet the overall effect is a show which is irrepressibly winning, consummately entertaining, and whose pros manage to completely outshine any of those particular occupational hazards. It’s the same piecemeal, choppy dipping in and out of over three decades of the story of Franke Valli and the Four Seasons, from their slightly meandering startup through to the mega hits of the 60’s and 70’s and right up to their indictment into the Rock and Roll Hall of Fame in 19990. Fortunately, the songs, from ‘Sherry Baby’ to ‘Big Girls Don’t Cry’ and ‘December, 1963’, are a slew of crowd-pleasing and instantly recognisable classics, fortunate given that you’ll be screaming out for some sort of emotional connection by the time the interval arrives.

That’s not to imply the characters are not engaging, for they are; the four leads giving incredibly well-defined and charismatic performances. Each vocally, physically and idiosyncratically ring true to life, and the dynamics between the group are expertly judged, the frisson and chemistry palpable throughout, and they certainly elevate the pedestrian structuring of story and narrative happening around them. Tim Driesen is indescribably superb as Valli, his voice not only commanding that strong falsetto but doing so with what seems like an effortless ease. Stephen Webb adds shade and a certain love-to-hate flavour as the more morally dubious Tommy DeVito, Lewis Griffiths is a commanding physical presence and meets it with a brilliant deadpan simplicity as Nick, and Sam Ferriday is earnest and likeable as talented singer-songwriter Bob Gaudio, child prodigy of ‘Short Shorts’ fame. Matt Gillett gets a look-in and ramps up the camp as manager Bob Crewe, whilst Damian Buhagiar gets to inject some you-never-knew-it fun as a young Joe Pesci (yes, that Joe Pesci).

The cast are terrific, it’s just the show seems to struggle with exactly what to do with such great characters and gets blinded by the necessity to carry on ticking off it’s list of well-known career moments, whilst tiptoeing occasionally into band conflict, monetary problems, and possibly the most ephemeral familial subplot in a show like this yet seen. It’s not quite fair to label Jersey Boys simply a 2 and a half hour tribute act, and to do so would mostly be an insult to the sensational core cast who carry the whole thing very confidently on their shoulders, but at times it does come perilously close to earning such a moniker.

If you don’t mind sacrificing the meat on your theatrical narrative bones, or are an ardent fan of Valli or the Seasons, then what remains is utterly commendable and enjoyable fare. As mentioned, this is an extremely confident, well-oiled production which bursts with high production values and an even higher roster of talent. Klara Zieglerova’s somewhat industrial staging design is minimalist by necessity but works well and is surprisingly evocative of time and place when complemented by Howell Binkley’s bold, metamorphic lighting. Jess Goldstein’s costumes and Charles Lapointe’s hair and makeup harmonise to capture each particular era with understated authenticity, and there is a general sheen to the whole thing which feels lifted straight from the West End (as the production is). Kudos to all involved for replicating the full London experience so professionally and faithfully on the road.

Whilst Jersey Boys may carry many of the foibles and pitfalls of the particular ilk of theatre it finds itself in, in truth it is still a firm and evident crowd-pleaser. The infectious, upbeat breadth of genuinely classic and enduring pop-rock hits met with the stunning performances, high production values and stellar arrangement work ensures it is a show which with some real clout raises the roof, the audience from their seats, and ensures that everyone leaves proclaiming (Oh) what a night!

(A)MUSINGS RATING - * * * * (4 out of 5 Stars)

MUSINGS

+ Slick, impressive, West-End quality production

+ Driesen is a sensational lead

+ Uniformly excellent cast

+ A swathe of classic Valli/Four Seasons hits to savour

+ Musical set pieces and arrangements are frequently sensational

- Formulaic, vignette structure and actor-musician approach

- Struggles to find an emotional footing

- Overly abrupt ending

JERSEY BOYS is running at the BIRMINGHAM NEW ALEXANDRA THEATRE from Tuesday 09 December 2014 to Sunday 04 January 2015.

CLICK HERE for more information on the show and to book your tickets!

Alternatively telephone the New Alexandra Theatre’s booking line direct on 0844 871 3011.

For more news, updates and exclusive content from (A)musings, be sure to 'like' our Facebook page and follow Kyle on Twitter!

Press tickets for this performance of Jersey Boys were provided courtesy of the New Alexandra Theatre directly. (A)musings Media gratefully acknowledges their generous invitation.

CINDERELLA - THEATRE REVIEW

2014-12-11T16:27:00.000+00:00

CINDERELLA AT THE WOLVERHAMPTON GRAND THEATRE

Performance Run: Saturday 6 December 2014 - Sunday 18 January 2015
Performance Reviewed: Tuesday 9 December 2014 (Press Night)

Reviewed by Kyle Pedley

I will not be resorting to any cheap panto puns to open my review this year…

If you didn’t just mentally (or verbally!) shout ‘Oh yes you will’ then you may not be quite ready for panto season, but ready or not (here I come…), it is upon us, and the perfect remedy for that particular ill would be a timely visit to the Wolverhampton Grand Theatre’s Cinderella. Headlined by the master of innuendo and dry asides, Julian Clary, and featuring the signature glitz and spectacle that QDOS Pantomimes throw at all of their major productions, this festive staple is everything you’d expect and want from your Christmas/New Year pantomime, with all the trimmings and even a couple of very welcome surprises along the way.

Cinderella contains all the staples of the classic fairytale squeezed through the panto filter - this time round there’s no wicked stepmother but rather Cinder’s oafish father Baron Hardup (Iain Stuart Robertson), though mercifully the ugly sisters are present and accounted for, serving dual roles as both villainesses and panto dames, with Ben Stock and Tony Jackson giving great devilish drag, even if some of the pop culture references they are lumbered with (Britain’s Got Talent, Lady Gaga’s Born This Way and dress sense) are a good few years past their funny. Still, the kids and family audience lapped them up, and Stock in particular showed off some razor-shop timing and comedic physicality. The only lament with the duo is their juggling of being the dames, the villains and comedy characters in their own rights leaves the show lacking a central, truly detestable villain as a result - the concept of a pantomime baddie now having engrained itself in our cultural psyche. The uglies are mean and nasty, but never mount that podium of panto derision and jeer.

Alice Baker plays the titular princess-to-be (spoiler alert), and is spritely, endearing and consummately likeable - a marked improvement on last year’s Lucy Evans (Sleeping Beauty). It’s a cookie-cutter role, this being panto and all, but Baker sells it with sweetness and conviction, not easy to do when speaking to children dressed up as eery, non-responsive woodland critters or sharing the stage with hyperactive Joe Tracini. Tracini, son of comedian Joe Pasquale (who headlined last year’s show) is the perfect Buttons, and whilst there is noticeable crossover in style and even material from father to son (a hiding-behind-the-sofa gag used here having been a staple of Pasquale’s for years), Tracini does a terrific, energised job, bringing a flavour of silly, borderline slapstick humour which mercifully doesn’t tread on the toes of Clary’s particular brand of funny. Tracini also gets the chance to show off a genuinely impressive voice with a terrific sombre solo number, and if the moment feels a little shoehorned in, the show at least has the decency to acknowledge so.

Leaving the best for last, Julian Clary as the naturally flamboyant Dandini deadpans his way through proceedings with wit and innuendo to spare. Throwing barbs at the audience, his fellow cast and, of course, plenty of knowing winks and nudges to the ludicrousness of the whole thing, Clary, as expected, dominates the show, even if some of his admittedly hilarious routine and approach lacks some of it’s usual spark and precision. He’s the perfect levity for adults, with much of his double entendres likely to go over the heads of the younger audiences, who will nevertheless find plenty to enjoy in his over the top costumes, occasional dances and even the odd musical number, all of which are hilarious by dint of their awfulness, Clary adopting a spoken-sung approach which again fits perfectly with his light-hearted derision at the show as a whole. It’s worth pointing out that Clary is a routine panto stalwart, and whilst he gets a lot of mileage and laughs out of his putdowns, asides and cutting wordplay in general, it never crosses over into mean-spiritedness or cynicism.

The (great?) British panto is a tradition of the most embraced yet derivative order here in the UK, so most of the productions live or die by their ensemble. Cinderella has no problems there - boasting a strong line-up bolstered immensely by the comedic wattage of both Clary and Tracini, whilst Baker should also be commended for being the perfect panto heroine. Former X Factor contestant and West End star Niki Evans belts out a couple of numbers with her powerhouse voice, a suitably glamorous, and distinctly Black Country, fairy godmother, whose corset should undoubtedly be in the running for some sort of ‘Best Supporting Artist’ award.

It’s all safe, spirited, family-friendly fun, precisely in the mould of what can and should be expected from a mainstream pantomime production, and all given the trademark QDOS’ sprinkling of quality and musical razzmatazz. It won’t convert any naysayers, but nor should it attempt to, especially not when all involved are so busy poking fun at themselves as much as at anybody else around them. There are pantos a-plenty on offer in and around the Midlands this Winter, but positively erupting with laughs, silliness, song and dance, and particularly with Captain Clary at the helm, the good ship Cinderella is certainly a dock worth porting your ship into this Christmas.

... I thought Julian would appreciate an innuend-on.

(A)MUSINGS RATING - * * * (3 out of 5 Stars)

MUSINGS

+ QDOS usual standard of Panto excellence

+ Clary as hilarious as ever, offering plenty for the grown-ups

+ Tracini's humour complements, rather than complicates

+ Alice Baker a likeable lead easy to cheer for

+ It's Panto time!

- Some of the pop culture gags and references are old hat

- Lacks a solid, boo-hiss-able villain, a panto pre-requisite

- It's Panto time! (for some)

CINDERELLA is running at the Wolverhampton Grand from Saturday 6 December 2014 to Sunday 18 January 2015.

CLICK HERE for more information on the show's run at the Hippodrome and to book your tickets!

Alternatively, call the Box Office directly on 01902 429212 now to book your tickets!

For more news, updates and exclusive content from (A)musings, be sure to 'like' our Facebook page and follow Kyle on Twitter!

Press tickets for this performance of Cinderella were provided courtesy of the Wolverhampton Grand directly. (A)musings Media gratefully acknowledges their generous invitation.

THE FULL MONTY - THEATRE REVIEW

2014-11-25T00:57:00.000+00:00

THE FULL MONTY AT THE WOLVERHAMPTON GRAND THEATRE

Theatre Run: Monday 24 - Saturday 29 November 2014
Performance Reviewed: Monday 24 November (Press Night)

Reviewed by Kyle Pedley

Yes, you do.

Everything.

Well, that obligatory bit of housekeeping should placate the riff raff and nosey parkers, and leaves me with something approaching an intellectual and insightful review to write…. here goes nothing!

In truth, as was the case with Peter Cattaneo and Simon Beaufoy’s wildly successful 1997 Brit film on which this show is based, The Full Monty has a great deal more going for it than just the curiosity of it’s titular (titilating?) USP. Crowds will no doubt flock to the show for much the same reason as it’s in-universe audience mob the likes of the ‘Chippendales’ and likewise, and indeed on stage Monty has the added benefit of being able to do some particularly fitting fourth wall breaking and lay down the post-modern throughout. But behind the hen party hysterics and art-imitating-life cheekiness, the same fundamentally relatable and engaging, not to mention oft hilarious, script and storytelling is what really leaves an impression long after the memory of bum cheeks and beyond have faded.

It’s Northern England, unemployment is soaring, a recession is in swing, industrial communities are feeling the brunt and amongst it all we find an unexpectedly uplifting story of locals coming together and winning through despite the adversity. Roll out the tropes, blame Maggie Thatcher for everything and it’s so far, so safe. And indeed, whilst Monty does generally steer clear of mining and the industrial dissolution of the 80’s, there’s still plenty of ribbing and blame laying at the Iron Lady at the Tory party as a whole, and echoes of over-familiarity initially permeate as we follow the misfortunes of Gaz (Gary Lucy) and a group of fellow unemployed down-and-outs as they embark on the charmingly unlikely decision to become, of all things, a troupe of strippers.

In the wake of the likes of Brassed Off and the huge success story of Billy Elliot the Musical being adapted so successfully for stage, the first Act of Full Monty threatens to feel a little late to the game. It feels, initially at least, too cut from the same cloth to register as it’s own beast, and steers perilously close to feeling stale where the movie was energised and fresh. Thankfully, after a slightly plodding and meandering first half hour or so, once the characters are established, the dynamics between whom are as well charted here as they were on screen, and the chemistry of the cast coupled with the sharpness of Simon Beaufoy’s still-excellent script gain momentum, Monty finds its balls - and everything else - and begins to shine (if you’ll pardon shameless innuendo).

Terrific character work amongst the core cast, as mentioned, translates particularly well here. Gary Lucy is suitably laddish and likeable as Gaz, his moral compass a little impaired but nonetheless a loving father (he’s doing it to see his son, of course!) and perfectly empathetic rascal. Lucy treads the line well, doing a solid job of making the character neither saccharine or unlikeable, even if the accent work wobbles. The ever-reliable Andrew Dunn puts in a memorable, laugh-at-him-not-with-him turn as the uptight, principled, gnome-loving, dance-instructing Gerald, desperately keeping up appearances to his wife (and the conservative club) despite having been unemployed for months. Martin Miller confidently assumes the mantle of comedy sidekick early on in the form of Gaz’s best friend Dave, before gradually revealing deeper neuroses and relationship issues, again rounding out the character into something that bit more relatable. Louis Emerick, Rupert Hill and Bobby Schofield (who in particular gives a wonderfully quirky and distinctive performance) complete the core group, and in truth they all do a terrific, cohesive job of presenting a rounded, interesting, conflicting yet strangely complementary rabble of characters who decide they’d rather strip off than sign on.

Those familiar with the film will find it faithfully translated here, and carries through all of it’s feel-good, laugh-out-loud charm and quintessentially British flavour. There are a few alterations here and there, mostly for obvious reasons of staging and practicality, though a more conventional approach to a subplot featuring two gay characters is disappointingly marginalised and streamlined here. Likewise with the staging and set design - a striking disused factory environ dominates the stage, carrying obvious connotations and making a strong impact initially, but by contrast leaves some of the more minimalist scene transitions that occur throughout in need of occasional contextualising. Moments which the film, for instance, worked into montage or as location vignettes are here almost confusingly shoehorned with little-to-no prefacing, geographical or otherwise.

These are minor gripes, however, in an overall thoroughly entertaining whole. For those who have never seen the movie, The Full Monty remains a staple of straight-up British feel-good drama-comedy with heart and wit to spare, and for those already familiar, its transition to the stage has sacrificed none of what made it so winning and successful in the first place. And, of course, there is that selling point, which of course is leant extra presence and hype here by dint of being…. ahem… in the flesh. I struggle to recall a more rapturous audience. But as mentioned before, whether it be for the spectacle and giggles or the still-superb story, characters and writing, The Full Monty continues to prove not only that it still has the whole package, but also that it’s not afraid to show it.

(A)MUSINGS RATING - * * * * (4 out of 5 Stars)

MUSINGS

+ Beaufoy's script and characters as engaging as ever

+ Depth, humour and a lot of heart

+ A strong, game cast who admirably give it their all

+ The transition to stage affords some great breaking of the fourth wall

+ Recaptures so much of what made the original film work so well

- Some of the staging and transitions need greater context

- A slightly plodding first Act in places

THE FULL MONTY is running at the Wolverhampton Grand from Monday 24 to Saturday 29 November 2014.

CLICK HERE for more information on the show's run at the Hippodrome and to book your tickets!

Alternatively, call the Box Office directly on 01902 429212 now to book your tickets!

For more news, updates and exclusive content from (A)musings, be sure to 'like' our Facebook page and follow Kyle on Twitter!

Press tickets for this performance of The Full Monty were provided courtesy of the Wolverhampton Grand directly. (A)musings Media gratefully acknowledges their generous invitation.

THE BIG REUNION BOY BAND TOUR 2014 - UK TOUR REVIEW

2014-10-22T02:24:00.000+01:00

THE BIG REUNION BOY BAND TOUR 2014 AT THE LG ARENA, BIRMINGHAM

Tour Dates: Until Monday 27 October 2014
Performance Reviewed: Tuesday 21 October

Reviewed by Kyle Pedley

“Do you all remember ‘Smash Hits’?”

“…How about CD:UK? Top of the Pops?”

If my inner teenage self hadn’t already erupted to the fore at this early stage of The Big Reunion Boyband Tour, these pitch-perfect 90’s callbacks certainly did the trick.

Catapulting off of the surprise success of the ITV2 show of the same name, this years incarnation is a decidedly testosterone-driven event, eschewing the likes of Eternal and Girl Thing (Google the latter) whom were part of the 2014 TV line up in order to focus on what the vast majority of the baying audience were seemingly there to see anyway; the boy bands. And, be it cynical cash grab or audience savvy, some of last years groups, notably so-recently-disbanded-it-couldn’t-really-be-called-a-reunion mega band Blue, have been invited along for the ride once more.

As mentioned, it is an evening that practically lives off of the nostalgia factor, but what fantastically spirited, harmless and upbeat nostalgia it is. The 90’s and early 2000’s often get a hard wrap by music aficionados, heralded as a period that suffered a dearth of quality output, strangled by commercialism and the overly manufactured pop scene, but as the guys of the Big Reunion richly demonstrate - it was a time when pop music gave us a healthy dose of cheese and a whole lot of fun. Surely no-one can deny the sheer infectious vim and zest of Five (minus two) belting out ‘Keep on Movin’, Gareth Gates gamely reminding us of his ‘Spirit in the Sky’ or Adam Rickitt resurrecting his dance anthem ‘Breathe Again’ (sadly minus the track’s distinctive, raunchy video set up)?

Granted, there is no doubt a particular age bracket who will get the most mileage out of The Big Reunion, but that almost goes without saying, and in fairness from the likes of Michael Jackson’s nephews 3T and 911 covering the early-mid 90’s right through to the aforementioned Blue of (very) recent years, there is almost two decades worth of pop goodness on offer. And, crucially, practically every one of the acts seem like they actual want to be there, grateful and excited to be performing again, even you may lose count of how many times you are hit round the head with how special ‘[insert your city of viewing]’ is to each of them.

None of the Big Reunion Boyband Tour is original or Earth-shattering stuff, but nor does it profess or attempt to be. Rather, it gauges itself and its audience perfectly, and the level of energy and quality of performance is surprisingly high. Yes, there are occasions when the backing tracks and dancers do the heavy lifting, but I’d be lying if I said expectations on the vocal front weren’t exceeded. From a soulful rendition of ‘Forever’ from Damage, 3T performing a moving duet to their video of ‘Why’ with their late uncle (a real crowd-pleasing moment, for when can you ever have too much Michael Jackson?), 911 tearing into their choreography with relish and A1 and Five both acting as suitably bombastic, crowd-warming conduits of pop pep. The only ones feeling a little lost amongst the mix as a group, per se, were constructed band ‘5th Story’, comprising of the aforementioned Gates and Rickitt, along with Dane Bowers, Blazing Squad’s Kenzie and 90’s pop sensation Kavana, the latter of whom did not perform due to illness. A little wooly and haphazard as a group, there’s no real cohesion or gel to their look or sound, understandable given their infancy and previous proliferation as solo artists, and their real highlights undoubtedly when some of their solo work was allowed to shine as highlighted above.

Pretty much headlining both acts of the show were Blue who, pushing any question marks or pedanticism aside regarding their ‘reunion’, their inclusion is completely acceptable and understandable on the basis of their being undoubtedly the vocal powerhouses of the evening. A soaring rendition of ‘Breathe Easy’ in particular being one of the evening’s real highlights, with Lee Ryan and and Duncan James especially showcasing some truly terrific vocals. They also offered some of the most palpable and engaging camaraderie, with moments such as Ryan spontaneously lampooning bandmate Antony Costa’s voice cracking at one point feeling just that dash more natural and sincere.

Chances are, those contemplating going to see The Big Reunion are already fans of either the titular show, or one of the cadres of yesteryear amongst its line-up, so you’ll need either little persuasion or will know exactly what to expect going in. For everyone else, this is the kind of guilt-free throwback to ‘simpler times’ that you yearn for whilst sat at the office desk Youtubing your way down memory lane, or a full blown concert realisation of that moment when your old school favourite comes on at that family wedding reception. Pure, unadulterated, nostalgic, associative fun, The Big Reunion Boyband Tour may not quite be a tentpole advertisement for everything that made the past two decades of pop music great, but it certainly offers up a flavour, and is as jovial, spirited and feel-good a flashback as you could wish for.

(A)MUSINGS RATING - * * * * (3 out of 5 Stars)

MUSINGS

+ Genuine dose of Nineties/Naughties pop nostalgia

+ Bursting with a bevy of crowd-pleasers

+ All involved seemed genuinely invested and excited

+ Blue in particular raise the roof with their vocals

+ The very welcome, and personal, Michael Jackson 'cameo'

+ Feel-good, guilt-free, infectious fun

- 5th Story still work better as soloists

- Those averse to music of the era should stay well clear, this is it at it's most mainstream and commercial

THE BIG REUNION BOY BAND TOUR 2014 ran at the LG ARENA, BIRMINGHAM for one night only and is no longer performing at the venue. The tour continues across the UK until Monday 27 October 2014.

CLICK HERE for more information on the tour's run in the UK and to book your tickets!

For information on future events at the LG Arena, Birmingham, head on over to the Official Website.

Press tickets for this performance of The Big Reunion Boy Band Tour 2014 were provided courtesy of Live Nation. (A)musings Media gratefully acknowledges their generous invitation.

JANE MCDONALD - THEATRE INTERVIEW

2014-09-25T23:04:00.000+01:00

PANTOMIME INTERVIEWS 2014:
Jane McDonald - Jack and the Beanstalk (Birmingham Hippodrome)

Last week, we brought you a review of Loose Woman, Singer-Songwriter and all-round National Treasure Jane McDonald's latest UK Tour, Singer of Your Song, citing it as 'classy', 'tour-de-force' and 'supremely impressive'. This week, in the second part of our Jane triple-dip, Kyle caught up with her at the Birmingham Hippodrome to discuss her upcoming panto debut in Jack and the Beanstalk, the inspiration behind her first album in six years, and how it feels to be in greater demand than ever 16 years after first rising to success.

By Kyle Pedley.

Interview conducted Friday 12 September 2014.

Jane as she will appear as 'The Enchantress'
in Jack and the Beanstalk

Jane, thank you so much for your time...

My Pleasure!

Now, you seem to be busier than ever at the moment, between your new album, touring with sold out live shows, and now the Panto. How are you finding it all?

Well to be quite honest I’m a bit shocked I’m that busy, because I’ve been doing this for quite some time now and I keep thinking it’s going to slow down, and every time I come out of something, I think ‘Right, I can put my feet up a little bit more now’, but actually the time just gets filled with something else.

But in our profession that’s amazing, so I’m really quite pleased that I’m so busy, that I’m still in demand. And this is my first ever panto, so I’m really looking forward to this, because the best you could ever do is the Birmingham Hippodrome, the biggest panto in the world, so, I mean blimey, it’s downhill from here (laughs), that’s it!

And as you said, you’ve been active and established in the industry for a few years now, is it still as exciting as ever, for instance when you’re doing one of your live shows, does it still generate that same buzz and anticipation for you?

I never, ever take what I do for granted. I’m always amazed that people come and see me, and I’m also extremely grateful for the position I’m in. I love, with a passion, showbiz, and it’s something I’ve wanted to do since I was born, really. So to still be getting the work at this time, 17 years on from The Cruise, I’m amazed, but grateful to everyone who still continues to come and see me, and I love it.

Every year, there’s something else that happens, or it’s a different show. I mean I am a producer, I am a writer, and very much involved in everything we do, I’m a perfectionist, a bit of a diva. But people wouldn’t have me any other way, would they! So I do take it very, very seriously but it’s showbiz and it’s great fun and that’s how it should be.

As you touched upon beforehand, Jack and the Beanstalk is your panto debut. So how are you feeling about taking the panto plunge?

I’m absolutely petrified, but I’m also looking forward to it so much. I’m going to be flying in on wires, doing a lot of comedy - thank goodness, because I can’t help but do comedy - there’s going to be fantastic outfits, which is fabulous ‘cause I love a bit of dressing up and obviously I’ll be getting to sing quite a few big numbers.

I’m working with an amazing cast, so it couldn’t be better. I’ve started at the very top, which is quite daunting really... I sincerely hope I do them proud.

I’m sure you will. And how is the showing coming together? Have you started rehearsals yet?

I’ve seen a bit of the script, and I laughed my head off already, which is good, I know that if I’m laughing that’s gonna transcri... transpo... what’s the word I’m looking for?

Translate?

Translate! You know what, I’m so glad you’re here! (laughs) I know that comedy will translate then to the audience, and with the cast that I’m working with you can’t help but have a laugh with these boys. I know them all personally, so it’s going to be a hoot, it really is, and we’re all going to be heading down these streets when we come out as well so...

Interviewer Kyle Pedley with Jane
at the Birmingham Hippodrome

Well there’s certainly plenty on offer in Birmingham...

I’ve been hearing!

It’s certainly got a colourful nightlife...

(laughs loudly) Brill!

So having just mentioned the cast, obviously you’ve got the lovely Duncan James as your Jack, and you’ve got Chris Gascoyne as Fleschreep (laughs)...

(laughs) Fleshcreep... it’s not nice is it...

Poor Chris! Have you worked with any of them before?

I’ve worked with Duncan before, and I know Chris. I’ve worked with Paul Zerdin before, who is just fabulous. But it’s actually been a dream of mine to work with Gary Wilmot for many years, so this is quite a dream come true for me. We’re going to be doing a duet together in the show, which I’m really looking forward to doing. And the production is just something I’ve never seen before... they certainly are pushing the boat out on this one.

And on that note, they are taken extremely seriously nowadays, pantomimes, with big, grandiose productions, and they remain as popular as ever all over the country. What do you think they retain that enduring popularity, and what was it that attracted you as a performer to star in one?

I think what attracted me was I was always gonna be in Panto eventually, and for 15 years I couldn’t because I was tied up with something else - TV contracts and things like that which I couldn’t get out of for that length of time. It was something I was always going to do, and musical theatre is something that I love with a passion.

The British pantomime is something that is renowned across the world and many people, performers from all over the world, want to come to Britain to work in the British pantomime. The production level is second to none, especially with this company, and it’s good fun, it’s sending yourself up and you can bring your children. And I think that’s something that there’s not a lot of - things that you can do that with a full family, a show for everybody, where the parents are going to be entertained as well as the children, so I think you’ve got a winner there as soon as you can bring your kids.

So tell us a little about your character, the Enchantress. Who is she within the context of Jack and the Beanstalk?

She is the one that has the magic powers, she is the one that makes everything in the world wonderful, so when you see me arrive, you know that it’s all gonna be fine (laughs). So I think it’s like everyday life, everybody wants a fairy godmother, everybody wants someone who can make things happen, and in this particular production, that’s me... couldn’t have been more perfect, could it?

Well, ideal casting, and as you said, it means you get to wear all those fabulous frocks!

Oh yes, darling, of course!

Now, moving away from the panto for a moment, this year you released The Singer of your song, your first album in 6 years, was it?

That’s right.

Jane takes a seat at her new
pantomime home - The Hippodrome

So what was for you the genesis of that album, was there anything in particular you wanted to set out and achieve with it?

Well I’ve been a songwriter for many years, and The Singer of Your Song is a song I have for my fans. I’ve been completely blown away by the loyalty of people who have followed me for so many years, and it was just a tribute to them really, because that’s exactly what I am, I’m the singer of their song. They come night after night to hear a certain song being sang, and if I can make them feel a little bit better then that’s my job done.

This is an album that I did in Prague with the Philharmonic [Orchestra] and there’s 18 tracks on it, produced by Nigel Wright, so the pedigree on that album alone is far superior to anything I’ve ever done, and with beautiful, beautiful songs. I’ve got a duet of The Rose which I do with my best friend, Sue Ravey, and we’ve got more classical songs like Love Is All and God Only Knows on there.

When you put it on it’s like a warm blanket, it’s beautifully arranged, the whole nine yards, and people don’t do albums like that any more.

And I’ve spent everything on it... so I really hope it’s a success! (laughs)

Well it is a fantastic album and as you said the calibre and quality of production is superb, so I’ll happily you a cheeky plug there.

(laughs) Oh, good! Thank you so much!

And finally, to people who are perhaps doing their panto shopping, looking at which one to choose, why should they go for Jack and the Beanstalk, and what can people who are coming to see the show expect from it?

People should definitely pick Jack and the Beanstalk because it’s my first one and if you don’t come I’m not going to be a success, so I need you to come and see it!

The Birmingham pantomime at the Hippodrome is the biggest in the world, there’s going to be everything thrown at this; the giant itself is fantastic, so just to see that happen, and to see the beanstalk that grows, it’s just phenomenal. And the cast, I mean you’ve got a top class cast, not including me, that’s without me in it... it’s just the best, it really is, so come and see us in Birmingham!

Fantastic, and Jane thank you ever so much once again for your time.

Thank you, Kyle, darling, it’s been great!

NEXT TIME: The third and final part of our Jane coverage will be when we review Jack and the Beanstalk when it opens at the Birmingham Hippodrome in December!

Stay tuned to (A)musings on Facebook and of course here on our blog as the video of our interview with Jane will be going live closer to panto season!

JACK AND THE BEANSTALK will be running at the BIRMINGHAM HIPPODROME from Friday 19 December 2014 to Sunday 1 February 2015.

For more information on the show's run at the Hippodrome and to book your tickets online, CLICK HERE.

Alternatively, call Ticket Sales directly on 0844 338 500 to book your tickets now!

For more information on Jane's music and her tour, head on over to her official website HERE.

DIRTY DANCING - THEATRE REVIEW

2014-09-25T00:52:00.001+01:00

DIRTY DANCING AT THE WOLVERHAMPTON GRAND THEATRE

Theatre Run: Tuesday 23 September - Saturday 11 October 2014
Performance Reviewed: Wednesday 24 September (Press Night)

Reviewed by Kyle Pedley

As far as labeling goes, Dirty Dancing is something of a tough cookie (watermelon?) to define. It can’t strictly be classed as a musical - the show’s marketing carefully labelling it ‘The Classic Story On Stage’ - yet certainly offers some of the flavouring and ingredients of one, though when members of the company occasionally take to a microphone to sing it is more often than not contextualised within the show’s own universe. There is, unsurprisingly, plenty of dance showcased front and centre, though one could even make an argument for that not being it’s principle MO. What we are left with, then, is a makeshift hybrid of sorts, a synergy which lifts and borrows components of different genre’s and approaches and, under the familiar and beloved template of it’s 1987 movie namesake, surprisingly harmonises them into a thoroughly feel-good and irrepressibly vibrant evening of pure entertainment. Yes, it’s formulaic, safe and almost cookie-cutter in it’s approach to narrative (and, it has to be said, comedy) and there’s enough cheddar in there to make France lactose intolerant, but in reality audiences going in to watch Dirty Dancing aren’t likely to be expecting Sondheim.

For those unfamiliar with the plot of the film (which the shows follows almost to a tee), Dirty Dancing is set in the summer of 196 at Kellerman’s, a respectable American vacation resort where Dr. Jake Houseman (James Coombes) and his family are regular guests. His youngest daughter, Frances, colloquially known as ‘Baby’ (Roseanna Frascona) is a curious, well-meaning and spirited young woman who finds herself drawn to and involved with the resorts entertainment team, namely it’s debonair dance instructor Johnny Castle (Gareth Bailey). The plot fumbles along fairly predictably, and whilst it’s relatively inconsequentially and small-scale fare, the characters and performances are winning enough to become invested and there is plenty of vitality to the dance sequences in particular to diminish the fairly pedestrian nature of the plot.

In fact, despite not being exclusively a dance piece, the stellar choreography by Craig Wilson and Glenn Wilkinson provide the evening with much of it’s impact, as well as the fantastic slew of jukebox hits which will be instantly familiar to fans of the film (Hey! Baby, Hungry Eyes and the Academy Award-winning The Time of My Life to name just a few), aided ably by the cast who throw themselves at it all with incredible gusto and ability. Roseanna Frascona, bearing an uncanny resemblance to the film’s Jennifer Grey, is perfect in the role, imbuing her movement with a terrific sense of character and authenticity, evidently realising that acting and dancing can and should be one and the same, particularly in a production such as this. Gareth Bailey is a commanding presence as Johnny, and despite the very occasional accent wobble, puts in a terrific performance, doing the late Patrick Swayze proud with a diverse and masterfully demonstrated flurry of dance style. There was also an audible appreciate for his aptly rippling physique from more than a few members of the audience.

Amongst the supporting cast, James Coombes layers his Dr Houseman to make him an empathetic and likeable figure where he could so easily have been the archetypal disapproving father figure. Claire Rogers dazzles early on as Johnny’s purely platonic dance partner Penny, and again makes her a more endearing figure than could have been. And despite some of the comedy feeling a little old hat or forced here and there, both Alexander Wolfe and Jessie-Lou Yates are genuinely funny and showcase some terrific comedic chops as the heir of the Kellerman enterprise, Neil, and Baby’s older sister, the hilariously tonedeaf Lisa, respectively.

From a technical perspective, the show’s simplistic staging design proves to be surprisingly efficient, a heavy reliance on projections and digital images coupled with a rotating centre stage and selective use of props and flats able to create a veritable sense of place and atmosphere, the only exception being a recreation of the film’s famous practising-in-the-sea sequence, which here comes across as unintentionally funny and almost pantomime in execution.

As self-sabotaging as it may sound, one almost ponders the need to review Dirty Dancing. It’s target audience is easy to surmise and suppose, and there is absolutely no disputing that this is a show that is absolute perfection for hen nights, girly nights out and any other such awfully stereotypical niche. However, even those outside of the assumed audience should consider giving the show a chance, for it absolutely erupts with energy and joy throughout, and after a somewhat uncertain and apprehensive first half hour, the show rapidly got the audience on side. By the time the famous finale sequence rolled around, and the theatre took to its feet, even I, a reluctant and fairly cynical viewer of the original film, had to acknowledge what a terrific time had been had and how two and a half hours had flown by in an utterly enjoyable, supercharged experience of song, dance and perfectly inoffensive bonhomie. It may not win over everybody, and it’s not going to be bothering the Olivier’s any time soon, but Dirty Dancing is the kind of unassuming evening of straight up, unapologetic feel-good that is wholly recommendable to all, and indeed all but the most dour of theatre-goers should think twice about putting this particular Baby in the corner.

(A)MUSINGS RATING - * * * * (4 out of 5 Stars)

MUSINGS

+ Go in knowing what to expect, and get exactly that - the time of your life!

+ Irrepressible, vibrant, feel-good - all the theatre-going staples

+ Terrific choreography, particularly well demonstrated by Bailey, Frascona and Rogers

+ The kind of light-hearted escapism that is very easy to recommend

+ Plenty of sex appeal (on both fronts!)

- May be too light and cheesy for some

- Potentially less mileage for a more typical male audience

DIRTY DANCING is running at the Wolverhampton Grand from Tuesday 23 September to Saturday 11 October 2014.

CLICK HERE for more information on the show's run at the Hippodrome and to book your tickets!

Alternatively, call the Box Office directly on 01902 429212 now to book your tickets!

For more news, updates and exclusive content from (A)musings, be sure to 'like' our Facebook page and follow Kyle on Twitter!

Press tickets for this performance of Dirty Dancing were provided courtesy of the Wolverhampton Grand directly. (A)musings Media gratefully acknowledges their generous invitation.

JANE MCDONALD: THE SINGER OF YOUR SONG - UK TOUR REVIEW

2014-09-18T11:05:00.000+01:00

JANE MCDONALD: THE SINGER OF YOUR SONG AT THE WOLVERHAMPTON GRAND THEATRE

Theatre Run: Wednesday 17 September 2014 (One Night Only at Venue)
Performance Reviewed: Wednesday 17 September 2014

Reviewed by Kyle Pedley

It seems almost journalism-on-autopilot to preface a review of Jane McDonald’s live show by harking back to BBC reality show The Cruise, the surprise hit which saw the singer achieve celebrity practically overnight, but if there is one thing made abjectly clear throughout Singer of Your Song, her latest UK tour, McDonald is not afraid, dismissive or remotely embarrassed of what has come before. 16 years since Cruise made her a household name, and not only is her career continuing to go from strength-to-strength, opportunity and schedule afforded now by her departure earlier this year from daytime chat show Loose Women, but if her performance at the Wolverhampton Grand was anything to go by, her abilities and prowess as a singer-songwriter are enjoying similar boons.

Named after her recent album release, the first she has recorded in 6 years, Singer of Your Song not only showcases an incredibly versatile and powerful voice, but also bounces along with real vim and whimsy with the same genuine, unassuming natural charisma that won the Nation’s hearts back in ’98. On paper it’s a combination that perhaps strictly speaking shouldn’t gel - a cheeky segment of ad libbing or lamenting the woes of the aging body casts the theatre in a playful, tongue-in-cheek mood as Jane the comedienne takes centre stage, whilst minutes later a barnstorming, tour-de-force rendition of Love Is All can be threatening to raise the roof and take the audience with it. It sounds too incongruous to work, yet McDonald finds the truth in it all, both the grandiose and the giggles, with her irrepressible, everyday charm and authenticity making the whole show work effortlessly. Her healthy dose of self-awareness and more than a soupcon of self-deprecation keeps the audience won over and on-side and the feel-good factor consistently high throughout.

Tracks from the latest album form the core of the shows playlist, though given the pedigree of songs it includes, that is no critique or slight. From lighter, tender fare including the likes of I’ve Never Been To Me and Betcha By Golly Wow through to more arresting staples such as a powerful, moving rendition of The Rose, assisted on stage by long-time friend Susan Ravey (whom she also duets with on the album), McDonald sinks her teeth (and lungs) into each, and the sense that each numbers offers personal relevance is palpable throughout. It isn’t all strictly album fare and promotion (though there was a great running gag over the course of the night in regards to it’s availability at the theatre), with McDonald mixing things up with the likes of not one but two killer disco medleys, including a tribute to the great, late Donna Summers, and a supremely impressive Bond medley that opens the second act. Again, there is versatility to spare when a performer can so spiritedly and masterfully pull off the likes of disco classic Last Dance and contemporary Bond belter Skyfall with equal conviction. There’s a dash of Cilla, and even a couple of Shirley Bassey’s added in amongst the fold, as well as a slew of old favourites as requested by the fans. And throughout it all, McDonald’s rich vocals remain disarmingly impressive and a joy to savour. Yes, there’s more than a dash of cheese, camp and cabaret thrown in there, but McDonald would be the first to proudly acknowledge so, and the sold-out theatre likewise wouldn’t have it any other way.

Photo by Glen Chevannes

As mentioned, McDonald’s vocals are meticulously on point, and those who may have dismissed her as a TV personality first and foremost should prepare themselves for a very welcome surprise - when McDonald reaches for those big notes, she commands them masterfully. This latest tour continues to prove not only what a terrific singer she is, but also reminds the adoring crowd how much songwriting, too, is a core part of her raison d’etre as a musician and recording artist. The titular song, for instance, being an original number penned specifically for the fans who have continued to support her over the years.

A brilliantly judged mix of crowd-pleasing covers and completely original pieces, including the beautiful acoustic I’ll Be There co-performed by guitarist and friend Steve Cooper, it’s all buoyed by McDonald’s excellent comedic timing and complete frankness and sincerity. And whilst more often than not, McDonald is the butt of her own jokes, Singer of Your Song illustrates a serious, and indeed seriously impressive, performer and artist who mercifully shows no signs of slowing down or shying away from that killer voice which roars through an auditorium with ease.

Singer of Your Song is the kind of hearty, wholesome evening of entertainment that comes as a very easy recommendation, and McDonald is the perfect hostess to unassumingly guide an audience through it. As the musical pariah that is The X Factor once again resumes its tired, formulaic schtick for another year’s end, and we are repeatedly bashed around the head with the same old insults and criticisms of hopefuls ‘sounding like they belong on a cruise ship’ or even citing Ms McDonald directly, all involved should perhaps put an evening aside to catch her latest tour, as the calibre of performing and the overall sheen and quality of production and entertainment are streets ahead of anything ITV’s flagging horse could muster, and in Jane McDonald it celebrates an extremely humble and down-to-earth singer at the top of her game, deservedly riding high on a career that, likewise, continues to long outlast any of her naysayers.

MUSINGS

+ Terrific selection of old and new, original and covers

+ McDonald remains genuine, endearing and very funny

+ A very welcome showcase of her songwriting

+ Classy, effective staging, set and lighting design

+ A show that delivers the big belting goods whilst also remaining personal, humble and relatable

+ That Bond medley (particularly License to Kill/Skyfall)

THE SINGER OF YOUR SONG UK TOUR will be running across the UK at various venues on selected dates throughout 2014 and into 2015.

CLICK HERE to head on over to Jane's Official Website and get the full tour details!

NEXT TIME: Keep checking back for our upcoming interview with Jane, where she discusses her panto debut at the Birmingham Hippodrome later this year, as well as talking a bit more about her latest album which inspired the tour!

For more news, updates and exclusive content from (A)musings, be sure to 'like' our Facebook page and follow Kyle on Twitter!

Press tickets for this performance of Jane McDonald: The Singer of Your Song were provided courtesy of the Wolverhampton Grand Theatre and Ms McDonald's management directly. (A)musings Media gratefully acknowledges their generous invitation.

CATS - THEATRE REVIEW

2014-09-10T23:57:00.003+01:00

CATS AT THE BIRMINGHAM HIPPODROME

Theatre Run: Tuesday 09 - Saturday 27 September 2014

Performance Reviewed: Wednesday 10 September (Press Night)

Reviewed by Kyle Pedley

'Memory' seems to be a very potent ingredient in the tastes and penchants of current theatre-going audiences. As noted in my review of London's highly successful and celebrated Miss Saigon revival last month, there is clearly a demand and yearning for the familiar both in the West End and beyond, as nostalgia and the proven seem to be edging out the original and unknown. By no means is this particularly unusual or new, we live in a creative climate where the industries' Olivier awards have an entire category dedicated to revivals in recognition of their number and popularity, but it does seem to have hit something of a boiling point in recent years. Fortunately, for all of the pedestrian, perfunctory cash-cow productions being rolled out to ride this particular wave of demand, it also is the perfect environment to witness the return of some true musical greats, amongst which Andrew Lloyd-Webber's cherished and prolific Cats undoubtedly deserves to be classed.

For 21 years, the show graced the West End with its inimitable feline presence, setting a record at the time for longest-running production in the process. It bowed out with its final performance on it’s 21st birthday to a sold-out house and live broadcast in Covent Garden back in May 2002. However, 2013 saw the show return for a triumphant International tour which, after departing the UK for a number of tenures in Europe and beyond, this year sees it return to our shores prior to a limited West End run, delighting Birmingham audiences with it's feline festivities at the Hippodrome for the remainder of the month.

Cats follows the story of a tribe of ‘Jellicle Cats’ as they come together for an annual celebratory ball where one of them will be chosen by their venerable leader for a prestigious honour of ascension before returning to a new life. That’s essentially the full gamut as far as the narrative goes, minus a few minor deviations and side-steps (kidnap!), with the show mostly consisting of a series of vignettes showcasing an ecclectic mix of feline characters each with their own particular niche or backstory to be presented in song and dance.

It’s a relatively unique structure and approach, pick and choosing from T.S. Elliot's Old Possum's Book of Practical Cats, and even to this day remains completely distinctive and decidedly high-concept. For those who are not already familiar with the production then it’s kaleidoscopic, bricolage approach as opposed to a more traditional progressing narrative may alienate some expecting a more conventional musical theatre experience. The upside, however, is that this ensemble, almost Vaudeville approach keeps things fresh and brilliantly paced, with a soundtrack and slew of characters equally as diverse and imaginative as anything Lloyd Webber has produced. From the jazz and blues stylings of ‘Macavity’ through to iconic standard ‘Memory’, this remains one of the composer’s most enduring, varied and charismatic bodies of music.

The newly re-shuffled cast (though some familiar faces from last years company remain) assembled for this latest leg of the tour are an exceptionally capable and talented team, easily maintaining the high standards set last year with it's original company. With such a strong onus on the mannerisms and movements of it’s characters and performances, coupled with the shows almost operatic approach occasionally married with mime, the technical skill of its ensemble is pivotal, and it is where the cast absolutely shine in particular. The entire company disappear into their roles, all demonstrating remarkable physicality and control and utterly convincing as the cavalcade of varied feline creatures. Aided by remarkably characterful, almost balletic choreography and donning the trademark costumes and make-up of the original production which remain as evocative and effective as ever, this is a troupe at industry-leading standards of brilliance, and ensures Cats remains a brilliantly kinetic and exciting visual treat.

Some notable highlights within the company include Joseph Poulton who is sensationally agile and dextrous as both Quaxo and Mistoffelees, giving one of the shows most impressive dance turns. Dane Quixall is a delightfully dapper and suitably gentlemanly Skimbleshanks, Callum Train commands proceedings with majesty and presence as Munkustrap, whilst Paul F Monaghan is both sympathetic and tender as ageing Asparagus and rambunctious and booming in his Growltiger alter-ego. It's a spirited and tactile performance, with Monaghan selling the beats emotional, bombastic and humorous all with real vim and clout, even if the extended Growltiger sequence proves to be something of an Act II lull.

Sophia Ragavelas is a younger, yet no less poignant and affecting Grizabella, her youth in some ways managing to further compound the tragedy of the character; that even one so young could be so downtrodden and given up on in life. As is the nature of the character (and indeed practically every character within the show), Ragavelas does not have a great deal to work with, so it is admirable that she mines such a memorable (excuse the pun) and moving turn from her brief stage time. The measure of any good Grizabella is by her rendition of the show's tentpole number, 'Memory', and Ragavelas does not disappoint - with devastating conviction and searing vocals, seemingly tearing the song from her very soul and lifting it straight through the roof.

Incredibly faithful and a brilliant celebration of the strengths and uniqueness of the original show, this touring production of Cats will surely delight existing fans whilst converting newcomers in the process. Given it’s almost vaudeville/revue structure and distinctive look and feel, it is perhaps more of an acquired taste than even some of Lloyd Webber’s other output and in places it still does seem to take itself a little too seriously, occasionally sacrificing humour for melodrama or self-importance. Nonetheless, it remains mostly terrific fun throughout, and with catchy, memorable showtunes, terrific visual design and a simply stellar company of performers whose performances both physical and vocal are amongst the most impressive and enthralling I have had the pleasure of watching, Cats is an easy recommendation and the purr-fect figurehead for why revivals and re-imaginings of old favourites are here to stay, and deservedly so.

(A)MUSINGS RATING - * * * * (4 out of 5 Stars)

MUSINGS

+ A genuine musical theatre staple looking and sounding the best it ever has

+ Remains one of Lloyd-Webber's greatest and most diverse scores

+ A faultless company married with exquisite choreography

+ Is as fresh and original as ever in approach

+ Ragavelas' performance is the stuff musical theatre 'memories' are made of

- An acquired taste for some - it's vaudeville/vignette styling may alienate

- Occasionally takes itself a little too seriously given the subject matter and narrative (or lack thereof)

CATS is running at the Birmingham Hippodrome from Tuesday 09 to Saturday 27 September 2014.

CLICK HERE for more information on the show's run at the Hippodrome and to book your tickets!

Alternatively, call Ticket Sales directly on 0844 338 5000 now to book your tickets!

For more news, updates and exclusive content from (A)musings, be sure to 'like' our Facebook page and follow Kyle on Twitter!

Press tickets for this performance of Cats were provided courtesy of the Birmingham Hippodrome directly. (A)musings Media gratefully acknowledges their generous invitation.

MISS SAIGON - THEATRE REVIEW

2014-08-01T16:22:00.000+01:00

MISS SAIGON AT THE PRINCE EDWARD THEATRE, LONDON

Theatre Run: Continuing
Performance Reviewed: Thursday 31 July 2014

Reviewed by Kyle Pedley

‘Out with the new and in with the old’ seems to be the current dominant ideology pervading the West End at the moment, as even new productions by the industries’ heaviest hitters flounder whilst revivals and re-imaginings wade in over their corpses to rapturous reception and unprecedented box office (this show supposedly broke London pre-order ticket records). A trifle melodramatic an opening, perhaps, but one that is both true and quite tonally fitting for Cameron Mackintosh’s lavish, celebrated resurrection of the mawkish, histrionic yet spectacular Miss Saigon. Lloyd-Webber and Rice recently brought us the likes of Stephen Ward and From Here To Eternity respectively, and London even dipped its toe into the mass mass market with Harry Hill and Simon Cowell X-Factor pastiche vehicle I Can’t Sing. An ecclectic and diverse musical trifecta, yet all three suffered poor sales and abrupt, early closure, and in their place we have seen West End return announcements for the likes of Cats, Evita and, of course, Saigon.

It’s a prudent point, for so much of the Saigon hype and hyperbole seems grounded around a heady mix of nostalgia and celebratory adoration. Here we have a revival of a show that in regards to it’s core narrative actually plays surprisingly dated in execution, which seems jarring given that it was, in the first place, an adaptation of Puccini’s timeless Madame Butterfly. The core essence of its tale - a young American marine falls for an orphaned prostitute in Saigon as the Vietnam war draws to its close - lays down the doomed romance trope with sincerity and promise, and the political conflict that backdrops the affair offers a weighty tease of tragedy and troubled waters ahead.

But it’s in the shows’ second Act where Saigon seems to stumble, meandering into maudlin soap opera realms of circumstance and obstacles, permeating a distinctly 80’s approach to narrative. It is probably not a good sign when watching such a celebrated a musical that one is reminded of the likes of Dynasty or Dallas. Does the troubled marine Chris, now back in the States and married, face the reality of his tryst with prostitute Kim? Does he tell his wife of the brief romance which still disturbs his sleep at night? Scenes of bedroom angst and parental responsibility one line away from a phone call to the CSA seem a bit of a comedown after the emotionally charged and politically fuelled opening hour. Schönberg himself describes the show as ‘a simple story about simple people totally torn apart’, but such simplicity relies heavily on execution, and thus can age poorly, and it’s difficult to not yearn for a little more meat on Saigon’s narrative bones bones, particularly towards the end.

This is made starkly apparent in Act II’s most powerful scene - the iconic flasbhack sequence to a helicopter extraction during the City’s forced evacuation - which, when dipping back into the Vietnamese conflict and more fraught time period, instantly becomes more involving. And whilst the show’s denouement seems signposted relatively early on, it still seems disappointingly detached from the bigger picture, awkwardly abrupt and somewhat inconsequential to the events that have preceeded it and an overly taxed milking of the melodramatic tone that is prominent throughout. This will be defended by many, no doubt, as being the entire raison d’etre of the show; a character piece centred on it’s ill-fated romance and not the broader scope of Schönberg’s other magnum opus, Les Miserables, but even taking this into consideration, Saigon’s tale and execution are undeniably old hat.

But make no mistake - I enjoyed Miss Saigon. Pushing it’s storytelling foibles aside, it is a grandiose, lavish production that is as extravagant and impressive as anything you will see on the West End, with production values through the roof and the talent on display in a similar stratosphere. The aforementioned helicopter scene, for instance, continues to be deservedly championed, but there are a whole slew of set pieces and moments that are equally impressive by dint of stunning artistic, staging and lighting design and performances. The trajectory of ‘The American Dream’, one of the show’s climactic stylistic numbers, is a dazzling synergy of all of these, and up there with the most winning, impressive and slickly executed musical theatre sequences I’ve had the pleasure of watching. If you can take the moping story as it is, this is a standard and quality of musical theatre that across the board is executed to an extraordinary level of polish and finesse. And whilst it’s numbers and showtunes are rarely amongst Schönberg or Boublil’s best, there are highlights to be sure, from the balladic power of ‘Movie in my Mind’ to the gospel stylings of the stirring, moving ‘Bui Doi’ (torn from the stage by a thunderous Hugh Maynard) even if the latter, like so much of Miss Saigon, seems a little overwrought and ripe for parody by today’s standards where shows the likes of The Book of Mormon exist.

Jon Jon Briones is owed a huge deal of credit for puncturing the sombre tone of the show with such relish and mischief as The Engineer - Saigon’s half-Vietnamese, half-French resident pimp whose fate is intertwined with that of Kim and Chris, often due to his own scheming and intervention. It’s a delicious role that Briones judges expertly, with the audience in his pocket throughout - wisely sacrificing a showier, more flamboyant take in favour of character work that is as wonderfully subtle as it is irrepressibly charismatic. Newcomer Eva Noblezada makes her professional debut as Kim, yet her soaring, crisp vocals and sincere performance belie her relative inexperience and mark her out as a surefire theatre star in the making. Tamsin Carroll does an admirable job of making Ellen, Chris’s American wife, a sympathetic and likeable figure, worthy praise given the relatively underwritten nature of the role and the fact her very character’s existence could easily be a figure of audience scorn and derision.

Philippines music star Rachelle Ann Go dominates the stage and sets the standard early on during her brief but memorable appearance as stripper Gigi (giving an intense performance reminiscent of Gong Li in Memories of a Geisha) and offering blisteringly strong vocals during her portion of 'Movie in My Mind'. Kwang-Ho Hong is a particularly authoritative presence as scorned suitor Thuy in both performance and vocals, belting with strength and resonance and giving a steely, impressive turn. Finally, in the performance reviewed, Chris understudy Niall Sheehy (formerly a finalist on ITV’s 2012 talent search Superstar) did a worthy, admirable job with the role, tapping into the frustration and dichotomy of the character with gravelly sincerity, and everything seen and heard of principle Chris Alistair Brammer (whom most will see) is even further impressive.

So does this revival of Miss Saigon deserve to be hoovering up the sales and seats of fallen new shows and ideas in the way that it has? It’s an intriguing question, and touches upon the notion that the wider musical theatre audience tends to rest on the familiar and repeat rather than the diversified and original. It certainly accounts for the fanaticism amongst shows such as Saigon, Wicked, Les Mis etc. where fans will return to see the show ad infinitum whilst the likes of From Here to Eternity played to nigh-empty auditoriums. And whilst Miss Saigon can’t quite hold a candle to the likes of Les Mis in particular, there is a lot to be said for such a level of interest, fandom and adoration. And even though Saigon’s approach to story and character haven’t aged superbly well, and there is an overall cheesiness and melodrama to its approach, it is still nonetheless a big, beautiful, stunning treat that is at the apex of the kind of artistic, visual and sensory bedazzlement the West End can boast. And when all is said and done, is the razzle dazzle, spectacle and escapism not the real reason we love the musicals? If so, Miss Saigon is the Occam’s Razor of musical theatre; the simplest approach seeming to work the best, and if not quite a five star musical, then nonetheless an extravagant, sumptuous five star experience indeed.

(A)MUSINGS RATING - * * * * (4 out of 5 Stars)

MUSINGS

+ One of the most lavish and spectacular shows in the West End

+ Briones dominates the show with effortless charisma

+ Noblezada, Hong and Go are outstanding

+ Littered with memorable set pieces and sequences

+ That helicopter sequence

+ Dazzling set, lighting, dance and costume design

- Feels strangely dated in narrative execution

- Tiptoes perilously close to parody with its maudlin and melodrama in places

MISS SAIGON is running at the Prince Edward Theatre, London, and booking up until 25th April 2015.

CLICK HERE for more information on the show's run at the St James and to book your tickets!

Alternatively, call the Box Office directly on 0844 482 5155 now to book your tickets!

For more news, updates and exclusive content from (A)musings, be sure to 'like' our Facebook page and follow Kyle on Twitter!

Press tickets for this performance of Miss Saigon were provided courtesy of Raw PR. (A)musings Media gratefully acknowledges their generous invitation.

GUARDIANS OF THE GALAXY - FILM REVIEW

2014-07-25T22:45:00.000+01:00

GUARDIANS OF THE GALAXY

Release Date: 31 July 2014 (UK)
Director: James Gunn
Running Time: 122 Minutes
Starring: Chris Pratt, Zoe Saldana, Dave Bautista, Vin Diesel, Bradley Cooper, Lee Pace, Michael Rooker, Karen Gillan, Glenn Close
Screening Reviewed: London Press Screening

Reviewed by Kyle Pedley

As the second phase of their ‘Marvel Cinematic Universe’ gears inexorably towards next summers’ behemoth-to-be, Avengers: Age of Ultron, the studio seems set on demonstrating it still has plenty of aces left up its sleeve and fresh fuel left in the can. Just as we seemed ready to begin slipping into a lacuna of comfortable (over?) familiarity with the Tony Starks and Thors of the cinematic Marveldom, and Captain America: The Winter Soldier had seemingly hit the creative apex of the ‘standalone yet part of the whole‘ formula they had been tweaking to nigh-perfection since the original Iron Man (I disregard Edward Norton’s The Incredible Hulk for reasons of taste) the seemingly indefatigable vim and invention of Marvel throws a very welcome curveball to proceedings in introducing us to Peter Quill a.k.a Starlord, and his fellow Guardians of the Galaxy.

Guardians is amongst the more distinctive and defined of the studios' output so far - a buoyant, raring adventure yarn with far more overt Sci-Fi trappings in comparison to the Superhero/Fantasy and even Political Thriller stylings of its MCU predecessors. It’s laced with the necessary humour and comedic underbelly that you’d expect from Marvel, but overall this is the kind of space-faring ensemble caper that, whilst confidently and charismatically directed by James Gunn, nonetheless clearly finds its genesis in the works of George Lucas, Luc Besson and even in places soupçons of Ridley Scott. That said, despite the fresh coat of paint and a myriad of fun and compelling new characters to endear our hearts (and wallets) to, this is quintessential Marvel fare through-and-through, and for all of the fun you will most definitely have with Guardians, some of the narrative tropes and beats, not to mention the films overall structure are a trifle formulaic and perfunctory.

Chris Pratt heads up the new merry band of Marvel misfits with supreme confidence and charm as intergalactic ruffian Quill, proving to be a superb lead around which the excess can flourish. On paper, Quill could too easily devolve into being an uninspired melting pot of Han Solo/Tony Stark idioms, quips and cliches, but Pratt is too engaging, likeable and on point with the more tongue-in-cheek nature of the film to allow this, proving to be a terrific lead and makes his ‘Star-Lord’ (self appointed title, of course) a very worthy addition to the studios’ line-up. Beginning as a wayfaring bounty hunter of sorts (treasure, mind, not heads), Quill finds himself swept along and embroiled in a wider galactic conflict when he happens upon a mysterious artefact that is being sought after by murderous alien warlord Ronan the Accuser (a nearly unrecognisable Lee Pace). Henchmen are dispatched, the set pieces ratchet up and complications inevitably ensue, with Quill ultimately finding himself the leader of an unlikely troupe of vigilantes that includes Zoe Saldana’s no-nonsense, green-skinned assassin Gamora, vengeful, brick s**t house warrior Drax the Destroyer (Dave Bautista), a walking tree creature by the name of Groot (Vin Diesel) and the genetically engineered, wise-cracking Rocket the Raccoon (Bradley Cooper).

They’re a motley bunch to be sure, and yet the conviction of the cast and the film as a whole ensures it all works, with palpable chemistry between the group as a whole, no mean feat considering almost half of their rank are wholly CGI. There are broader strokes in play with some of the characters - we’ve seen the likes of the steely, battle-hardened Gamora before, for instance, and whilst Rocket will no doubt prove to be an audience favourite, particularly for the youngsters, he seems to be a graduate of the school of sass-mouthing comedy animal sidekicks which the likes of Disney have been churning out for decades. The mostly mute Groot, though seemingly a pointless shoehorning in of the name of an unrecognisable Vin Diesel (this is no Andy Serkis level of mo-cap work), is one of the cadres more enjoyable and unique characters, regularly endearing and inadvertently offering plenty of funny. Dave Bautista’s Drax, too, gets a number of laughs, mostly courtesy of his characters tendency to take everything literally (‘Nothing goes over my head. My reflexes would be too fast.’) though Batista is more adept at deadpan and asides than other times when some of his weightier dialogue comes across a trifle forced or heavy on the cheese.

As the Guardians’ adventures become increasingly more fraught and perilous, and we are thrust from one dazzling new Sci-Fi locale or conflict to the next, from the futuristic cityscape of Xandar to the grimy criminal hive of Knowhere, the film does threaten to over-busy itself in how it incorporates a number of elements pertaining to the wider Marvel mythos being established. There are links to sequences from previous end credit scenes in the likes of Avengers Assemble and Thor: The Dark World (no doubt prefacing their future appearance in Avengers: Age of Ultron) and beyond that may come across as a little clunky and cumbersome for casual cinema-goers. Fans of the universe will lap them up, relishing at the chance to finally see Josh Brolin’s Thanos in all his glory, an extended cameo from Benicio Del Toro’s character ‘The Collector’ and some further information on the power of the infinity stones for instance, but it is a lot of narrative baggage for a film with such a light deftness of touch in its execution elsewhere. Thankfully, Gunn ensures the film is expertly paced, and just when it looks set to bog itself down in exposition, subplots and A-list cameos, we’re whipped into the next hijink or encounter.

In addition to being pretty perfectly paced, Gunn proves himself a consummate director of the Marvel approach, balancing the character work, tongue-in-cheek, almost satirical nature of the whole thing with some genuinely impressive and entertaining action and spectacle. He also imbues the whole thing with a confident style and flair of it’s own - from the myriad of rainbow character designs and alien prosthetic work through to the mixed tape soundtrack accompaniment that sees key sequences set to the likes of Blue Swede’s ‘Hooked on a Feeling’ and even Marvin Gaye/Tammi Terrell’s ‘Ain’t No Mountain High Enough’. Gunn knows what he is going for and throws just enough quirk and distinction into the mix to keep things feeling fresh without ever resorting to base gimmickery. It’s a blessing too, as some of the film’s structure comes to autopilot on formula, particularly in the latter half... someone seriously needs to tell Marvel that you don’t have to have an aerial battle as your climactic set piece. It doesn’t help either that the film’s central villain Ronan seems a copy and paste job of Thor: The Dark World’s Malekith, who himself was already not a particularly compelling or memorable adversary in the first place.

Amongst the rest of the supporting cast, Glenn Close pops up to do her thing but is generally wasted as the bland, ministerial Nova Prime, Michael Rooker scene steals a-plenty and creates arguably the film’s most interesting and layered character and performance as bandit leader Yondu, Karen Gillan looks fantastic and gives both a good American twang and a fierce left hook as villainess lieutenant Nebula and John C. Reilly sporadically appears, almost playing himself as a flustered law enforcer character we are supposed to suddenly care about come the films denouement, but almost certainly don’t.

It almost goes without saying for Marvel that the film's visual effects are stunning, and aesthetically Guardians can sit comfortably up there with the finest the studio has offered. Thankfully, even in establishing an entire new slant to its existing mythology and a major new set of slightly more unorthodox central heroes, Marvel have once again made sure that for all it’s visceral thrills and impact, Guardians of the Galaxy meets them just as competently and considerately with its character work. It’s a curious dichotomy, for Guardians seems to represent in different ways both the studios most daring and individual endeavour of recent years, yet in others perhaps its safest and most formulaic. None of this, of course, is a bad thing given the core cast and filmmaking at its heart are so consummately entertaining, spirited and raucous, and before we slip back into the familiar plights of the Avengers, Guardians unabashedly offers up the perfect antithetical prelude and an incredibly confident first installment of what deserves to be another highly successful franchise of the Marvel Cinematic juggernaut.

Just, seriously... lay off the air battles.

(A)MUSINGS RATING - * * * * (4 out of 5 Stars)

MUSINGS:

+ Great to see Marvel successfully introducing a whole new roster of characters to their universe

+ A consummate Sci-Fi action adventure treat

+ Satirical, distinctive edge

+ Chris Pratt is a terrific, charismatic lead

+ Looks and sounds stellar

+ Bombastically directed, fluently paced

- A little busy with exposition and subplot

- Ronan is a cookie-cutter Marvel villain

- Some of the studios' formulaic structuring rears it's head

For more news, updates and exclusive content from (A)musings, be sure to 'like' our Facebook page and also follow us on Twitter!

Press access for this screening of Guardians of the Galaxy was provided by Walt Disney Motion Picture Studios UK. (A)musings Media gratefully acknowledges their generous invitation.

WICKED - THEATRE REVIEW

2014-07-11T16:38:00.000+01:00

WICKED AT THE BIRMINGHAM HIPPODROME

Theatre Run: Wednesday 09 July - Saturday 06 September 2014

Performance Reviewed: Thursday 10 July (Press Night)

Reviewed by Kyle Pedley

Wicked will cast it's spell upon you... Wicked is wicked-ly good... Spellbinding!

With that obligatory bit of housekeeping out of the way, it's almost difficult to comprehend what to say about musical colossus Wicked that hasn't already been said countless times over. One of the most celebrated and successful musicals of the 21st Century, it is an internationally renowned mega-hit whose adoration (and ticket sales) show no sign of dwindling any time soon. Winnie Holzman's adapted tale that takes a canted look at the witches of Oz (taken from Gregory Maguire's more morbid book of the same name) combined with Stephen Schwartz's already-iconic music has leapt into our collective cultural consciousness and tapped into a generational zeitgeist in a way that most other musicals could only dream of. And now, as the show takes off on its first ever UK and Ireland tour, the fervour and excitement in Birmingham and the surrounding area for the show's arrival at the city's Hippodrome theatre has been at fever pitch, showing that these witches are as 'popular' as ever and just as adept at defying expectations as they are gravity.

But is all the hype and success deserved? In a word, yes. Undoubtedly so. Wicked is a musical of almost universal appeal, a cleverly constructed and wittily told tale of friendship, family, love, identity, the always-popular 'don't judge a book by its cover' morality, and enriched by dynamic, empathetic characters and a slew of utterly wonderful showtunes. Fundamentally, it gets practically every component of a successful musical absolutely right. And chances are, even if you have never seen Wicked before, you will still find yourself recognising at least a handful of the numbers, so absorbed into the cultural psyche as they have become (with the likes of Glee having bastardised the soundtrack ad nauseum). It also helps that despite the thoroughly human core which deals with such accessible issues as bullying, defiance, compassion, insecurity, sacrifice and the like, the show is distilled through the fantastical, colourful 'manifestorium' of Oz, offering plenty of scale, spectacle and visual excitement, and the whole thing kept buoyant and family-friendly by dint of being genuinely funny throughout, even during the second Act where events, naturally, take a turn for the grim(merie).

Young Elphaba Thropp is not your average Ozian (the whimsical world we all know and love from Dorothy Gale's adventures along the yellow brick road). Having grown up with a resentful father, emotionally detached and physically crippled sister, a mother who passed away when she was young, she also has to deal with the confidence-crushing issue of being entirely green and having a tendency for strange things to happen when she gets mad. No prizes for guessing where the character is heading. Yet Elphaba's journey to becoming the infamous 'Wicked Witch of the West' is not the atypical fall from grace/villains parable that one may first expect. Instead, through a mixture of her interactions with her fellow students, the frightfully airheaded Glinda (later 'the good') and debonair, cocksure young prince Fiyero, she begins on a path that will establish her as the ultimate anti-hero, as she begins to discover some darker truths about the lies being fed to the people of Oz, and making enemies of powerful people who are slowly robbing Oz and it's animal inhabitants in particular of much of their magic.

What's notable, not to mention beloved, about Wicked is it's layered, nuanced character work. Elphaba begins as the outsider and is instantly relatable, but as her cause downward spirals into a crusade, she too becomes a darker and more desperate character. 'Was I really seeing good, or just seeking attention?' she frustratedly questions during Act Two showstopper 'No Good Deed' after her efforts have lead to a significant death. Glinda, likewise, who is in many ways just as central a character, begins more akin to an ersatz playground bully, all appearance and surface, before revealing a more nurturing, staunch supportive side as the two witches grow closer together and their friendship crystalises to form the emotional crux of the show. She is the bubbly, savvy and peppy yin to Elphaba's cooler, more individual and reserved yang. The public face and persona to the brains behind the operation. And Glinda, too, comes to discover the perils of getting involved with those in power, and that getting your own way can be 'a little, well, complicated' but in very different ways to her green-skinned friend.

With the first half of the show setting up events before the arrival of Dorothy Gale in Oz, and barnstorming closer 'Defying Gravity' having neatly set up Elphaba as the villainous menace to the people of Oz that she would become famous for, the second throws in a lot of framing around the traditional Wizard of Oz story without, mercifully, really featuring much of Dorothy and her adventures at all. This is the witches story, and it is here that the cleverness of what Gregory Maguire and Winnie Holzman have done really pays dividends. There are appearances from a slew of recognisable characters, some of which you don't even realise have already been established in Act One, and we get to see some of the more significant moments from the original film put through the Wicked spectrum. And whilst it is still a little difficult to imagine the Elphaba we have seen developed throughout the show do and say some of the things Margaret Hamilton's cackling menace did in Wizard of Oz, fans of the original film and story will get a lot of mileage from the clever re-handling and re-imagining done here.

And alongside its clever, inventive and character-driven tale comes spectacle in abundance. Fortunately, Wicked on tour looks just as spectacular and colourful as you will find it in the West End, which is certainly no mean feat. The stunning set design, exquisite, elaborate costumes and vibrant lighting burst and dazzle with the same Tony-award winning vim and vigour as ever. It's an opulent, sumptuous treat, and even the shows bigger set pieces, such as the grandiose arrival of the 'Wizard' himself, nigh-deafening and swathing the audience in beams of rainbow light, or the 'Ozmopolitan' excitement and lampoonery of 'One Short Day' have as much impact and presence here as they ever have. There are minor beats and moments which have had to be slightly amended due to the absence of a descending trapdoor, for instance, which the West End version has built-in, but the creative ways the show takes around the problem are just as effective.

This standard of excellence also continues, mercifully, to the tour's ensemble cast, as even given the fantastic foundations to work with as mentioned above, it is not unknown for some productions of Wicked to flounder or fail to reach the shows potential due to a sub-par cast. Coventry-born Liam Doyle makes a dashing, youthful Fiyero, and is particularly impressive at the characters' more boastful moments, adding an extraordinary kinetic energy and some duly impressive moves to his big 'Dancing through Life' number. Despite this he is, almost paradoxically, one of the more humble and empathetic Fiyero's, with a real sense that a lot of his admittedly excellent swagger and soft-shoeing is a front and show for the more down-to-earth nice guy underneath, which works particularly well indeed come the second Act. Dale Ripley gets kudos for playing both fearful and justifiably paranoid goat lecturer Dr Dillamond as well as a clownish, borderline camp Wizard of Oz whom elicited a healthy number of laughs from the audience in his moments of self-absorbed waxing lyrical and monologuing. Marilyn Cutts is the ultimate Madame Morrible, the show's actual wicked witch, and laces even her more innocent moments with plenty of venom and viciousness, with a suitably devious dash of sycophant and lickspittle where necessary. Carina Gillespie is 'tragically beautiful' and hauntingly perfect as Elphaba's cold, somewhat detached sister Nessarose who, the more astute will have already realised, goes on to become another named character in the Oz universe. Gillespie showcased crisp, powerful vocals and a more desperate edge than seen in previous interpretations of the character, and it made for an incredibly compelling and commanding turn. Gillespie also occasionally understudies Glinda, and having seen her in the role in Cardiff, is equally splendid there.

But Wicked, of course, belongs to its leading ladies, and here the tour has absolutely come up aces. Emily Tierney demonstrates comedic timing and prowess with Glinda as hilarious and honed as any who have come before her, mining pathos or humour at every turn. It's an incredibly instinctive and attuned comedic tour-de-force, though Tierney hits the more sombre and tender moments for Glinda with equal relish and clout as well. Whereas other 'Glindas' save a lot of the funny for big moments such as 'Popular', there were points even during the likes of 'Thank Goodness' where it was difficult to not find oneself tittering away at Tierney's subtle mannerisms and idiosyncrasies. She wholly inhabits the role and is an absolute joy to watch.

The tour's standby Elphaba, Jemma Alexander, had the chance to perform for Birmingham's press night due to principle Nikki Davis-Jones being unwell, and gave what was quite possibly the most likeable and endearing, and thoroughly British, Elphaba I've yet seen. Having seen Nikki perform in Cardiff, they offer two quite different interpretations of the role, with Davis-Jones a somewhat more deadpan and cynical Elphaba to Jemma Alexander's more optimistic and passionate young witch. Both give great vocals and do a stunning job with the huge numbers they inherit, and whereas Alexander's performance is perhaps a little more typical and safe than Davis-Jones', her Elphaba feels a touch more invested in and affected by the events around her. And, strangely, Alexander's heightened passion translates well to the character's more vengeful and embittered arc in the second half of the show where she truly seems to grow in stature (thank the hat), confidence and presence moreso than perhaps Davis-Jones did. It's also encouraging to see the show's standby tearing down the house with the likes of 'defying gravity' and 'no good deed', her renditions of both of which were superlatively good. Ultimately though, regardless of which Elphaba audiences may experience, it is further indicative of the ludicrously high standard of talent assembled for the tour with Davis-Jones and Alexander both offering brilliant, barnstorming takes on the character and supremely impressive leading turns.

Goodness knows there are plenty more reasons to recommend Wicked than even this almost scandalacious-ly in-depth review of the show has been able to champion, so coming full circle, one of the earliest points seems the most prudent and final - Wicked is a huge, beloved musical success story because it gets so many things so very right. It is a musical whose music soars and rides the same witty, insightful foray as its engaging, funny, insightful and brilliantly adapted book. It is a lavish, thrilling production that entertains in abundance and takes an audience on a fantastical fairytale and flight of fancy through a strange world whilst simultaneously telling an intensely human tale. And in taking Wicked on tour, the producers, talent and craftsmen involved have jetted no single speck of splendour, scale or Ozdust to boldly assure that there is no reason to adjourn to London; Wicked on tour is the full experience, par excellence.

As the relieved Ozian chorus sound out at the beginning and end of the show, 'No One Mourns the Wicked', but there will be plenty to mourn when Wicked flies out of Birmingham this September, so be sure to grab a ticket to the theatre event of the summer whilst you can.

(A)MUSINGS RATING - * * * * * (5 out of 5 Stars)

MUSINGS

+ One of the most successful and beloved musicals with reason

+ Stunning touring production as impressive as West End

+ Excellent cast across-the-board

+ Holzman's book and Schwartz's music as clever, witty, entertaining and moving as ever

+ Standby/understudy Elphaba and Glinda's are exceptionally good

+ Equally impressive + disciplined ensemble

+ First ever UK tour!

WICKED is running at the Birmingham Hippodrome from Wednesday 09 July to Saturday 06 September 2014.

CLICK HERE for more information on the show's run at the Hippodrome and to book your tickets!

Alternatively, call Ticket Sales directly on 0844 338 5000 now to book your tickets!

For more news, updates and exclusive content from (A)musings, be sure to 'like' our Facebook page and follow Kyle on Twitter!

Press tickets for this performance of Wicked were provided courtesy of the Birmingham Hippodrome directly. (A)musings Media gratefully acknowledges their generous invitation.

THEATRE INTERVIEW - Liam Doyle (Wicked)

2014-07-09T17:39:00.000+01:00

WICKED INTERVIEWS:
Part Two - Liam Doyle (Fiyero)

Wicked flies in to the Birmingham Hippodrome this week as part of it's first ever UK and Ireland tour, and as part of our WICKED WEEK celebrations, we've brought you interviews with two of the show's leads.

Last week, Kyle chatted with leading lady Nikki-Davis Jones, who plays Elphaba on the tour, and this week we conclude our interviews by chatting to Midlands native Liam Doyle, who plays Fiyero in the show. We discuss his unusual path into performing professionally, returning to the Midlands with Wicked, and landing his dream role...

By Kyle Pedley.
Interview Conducted Thursday 24th April 2014.

Liam Doyle as Fiyero in Wicked

“I’m worried that I’m 23 and doing the part that I always wanted to do... it’s just downhill from here!”

Actor Liam Doyle is humbly, and jokily, assessing exactly what it means to him to have bagged his self-confessed dream role at such a relatively young age. The Coventry-born performer is of course speaking of Fiyero, the dashing, debonair leading man of musical colossus Wicked, which continues it’s first ever UK tour this week as it opens for a summer tenure at the Birmingham Hippodrome.

“It’s amazing. It is the part that I always wanted to play, it’s a part that I always kind of identified with.”

It’s late April, and a (surprisingly?) beautiful day in Wales at Cardiff’s stunning Millennium Centre, where myself and a collection of other press and media have hopped on our broomsticks to chat all things Wicked with it’s stars. Doyle has just crossed paths with Elphaba actress Nikki Davis-Jones after wrapping up our interview with her, and has noted with boyish enthusiasm how strange it is to see his co-star ‘not green’. He’s also just returned from a brief bout of illness, which he happily dismisses as ‘just one of those things’, with the only lament being over how it prevented him from seeing one of his closest friends perform in his stead:

“One of my best mates, Will, is first understudy for Fiyero. So it’s really annoying, cause I’m sick and in bed, not talking, and I want to come and watch him do it!”

There is no trace of stage persona or pretense with Doyle; rather, he exudes an earnest, easygoing, everyday humility and charm that may be in part due to his unconventional journey into musical theatre and performing. It turns out that football, for instance, was one of his original ambition and passions whilst growing up in the Midlands:

“I played football pretty much since I can remember, and I played it until I was about 16 and got injured in the middle of a game.”

“That was kind of the end of that.”

Liam Doyle in Wicked

Fortunately, his existing enthusiasm and talent for drama would set in motion a series of events and developments that, whilst far from typical, would nonetheless see him propelled into an already highly-successful career in theatre that has seen him play key roles in such major shows as Hairpsray, Mamma Mia and now, of course, Wicked:

“My drama teacher, Julie, was a really inspirational person. She was one of those people that just went ‘why don’t you do this? You’ve been good at this for a long time’. She needed someone to be one of the brothers in Joseph [and the Amazing Technicolor Dreamcoat], and that was when I realised I could sing.”

“It kind of just snowballed from there. I got into amateur dramatics and then that TV competition came along.”

Doyle is speaking of a search for a new musical superstar on ITV breakfast show GMTV back in 2009, which was looking to cast the lead role of Troy Bolton in the UK tour of High School Musical 2. It was undoubtedly the key catalyst for his career thus far, and he has one relative in particular to thank for it:

“I don’t know why my dad put me up for [GMTV]. I’d just got into drama school so it was one of those things where I was going to train to be an actor and do it ‘properly’, regardless of if it takes me 2 years or 50 years.”

“I was like ‘I’m going to become really, really good and get the best agent in the world’,” Doyle jokes.

“Then my dad put me up for this competition and I said ‘No, I’m not going. I don’t want to go’. And he made me go, because he bribed me with Hairspray tickets.”

In a fortuitous turn of events, those same tickets would see Doyle sat in the Shaftesbury Theatre watching a show he would later star in himself, just 24 hours before he was required to perform on the exact same stage as part of the GMTV talent search:

“We went to see the show at the Shaftesbury, then I had to dance the next day on the same stage, so I couldn’t believe it. It was incredible.”

Liam Doyle as Fiyero and
Nikki Davis-Jones as Elphaba
in Wicked

Ultimately, Doyle emerged victorious in the competition, beating out thousands of others to win the public vote and aged just 18 and pre-drama school, had secured his entry into a notoriously competitive industry.

“I’ll always be grateful to my dad for that, I don’t know why he did but it kind of just happened. It’s the best break I could have ever had.”

Now, five years later, with numerous West End and touring productions added to his resume, he is involved with one of the biggest musicals in the world, and the privilege of taking Wicked, and his character Fiyero, on the road for the first time, are not lost on him:

“It’s just such an honour to play it, I would actually call it an honour and privilege.”

“It’s been absolutely incredible and the audiences have been better than we could ever have asked for. I love being on tour, it’s one of those things where you bring the show to people that probably wouldn’t be able to come and see it. I’m from Coventry and if I was in it in London, it would probably cost the best part of £400 to come and see me for two days.”

“To be able to get in a car, drive to the Hippodrome and then come and see it... I think it’s amazing that is just opens it up to every single person that could possibly want to see the show.”

Speaking of the Hippodrome, Doyle is quick to sing the praises of being back in Birmingham and amongst the Midlands theatre scene, where he earned a lot of his musical theatre stripes:

“I did Hairspray at the Hippodrome, but I also did summer projects at the [New Alexandra Theatre], like stage experience, and I did two of those. I played Tony in Copacabana, where I wore an awful sparkly gold tuxedo, and I played Roddy in Boogie Nights.”

“Birmingham theatres have a massive place in my heart. It’s kind of like being at home, as close as I can to Coventry anyway.”

Liam Doyle with Wicked Co-stars Emily Tierney (left)
and Nikki Davis-Jones (right)

Coming home to the Midlands with Wicked is also a chance for Doyle to reconnect with friends and family, from indulging in some home comforts to entertaining old friends:

“I cannot wait. I get to stay at my mom’s house so I’m like ‘Mom, I need my washing done!’, he laughs. “But no, I can’t wait, it’s going to be so much fun. My friends from school, who have finally stopped asking me what I’m going to do when acting finishes, they’re going to come and watch.”

“A lot of them haven’t seen me do anything, they just know I’m off on tour or in London, so I’m really excited for them to come and see it and to see how much I enjoy it.”

It’s difficult to imagine a more triumphant homecoming for a musical theatre performer than Wicked, a show which continues to go from strength to strength and is an internationally beloved mega-hit. It's soundtrack has already etched itself amongst the pantheon of the musical theatre greats, and the hugely popular story depicting the history between the witches of Oz seems to have captured a generational zeitgheist.

“It’s one of those stories where it kind of teaches you not to judge a book by it’s cover and I think that’s why so many people identify with it,” Doyle explains, “there’s something that everyone can identify with in all the characters, and I think that’s why it’s received so well.”

“I like to wind the girls up and say the whole story couldn’t happen without me. But it’s about the relationship between the two girls and how their life is changed because they met each other, I think that’s what it’s really about.”

“But it’s just so much fun, and it’s also really heartfelt, and that’s what I absolutely love about the story. It’s one of those things that once it gets going the show just ramps up the whole way, and it just keeps going.”

Liam Doyle (left) with
interviewer Kyle Pedley (right)
at the Cardiff Millennium Centre

Not unlike Doyle’s career then, which, from it’s unusual beginning right through to now, has certainly showed no signs of slowing down. But what happens once the Emerald City has closed it’s doors and the wicked witch has flown off to pastures new? Would Doyle be tempted or interested in reprising the role back in the West End, as co-star Nikki Davis-Jones was last week announced to be doing?

“I’d never say never, absolutely. I finish in September, but I absolutely love it. It’s great, it’s amazing and I’d absolutely go back into London, yeah.”

“Hopefully it’s not the end of Wicked for me.”

Before then, there is a whole summer of Wicked goodness ahead for Doyle, and back on home turf no less, as the Midlands welcomes back one of it’s more recent and prolific musical theatre success stories starring in what is probably the theatre event of the summer. And, come what may, given his untraditional journey so far, demonstrable talent and affable, humble nature, it isn’t difficult to imagine that any such fears of it being ‘just downhill from here’ as Doyle initially joked will turn out to be completely unfounded, and even more fantastical and unbelievable than even the tallest tale from the wonderful world of Oz.

NEXT TIME: Our Wicked interviews are now concluded, but stayed tune to (A)musings as our FULL REVIEW of the show will be going live this Friday (11th July)!

Stay tuned on Facebook, Twitter and of course here on our blog for more exclusive WICKED content.

WICKED will be running at the BIRMINGHAM HIPPODROME from Wed 9 July to Saturday 6 September 2014.

For more information on the show's run at the Hippodrome and to book your tickets online, CLICK HERE.
Alternatively, call Ticket Sales directly on 0844 338 500 to book your tickets now!

THEATRE INTERVIEW - Nikki Davis-Jones (Wicked)

2014-07-03T17:45:00.000+01:00

WICKED INTERVIEWS:

Part One - Nikki Davis-Jones (Elphaba)

Wicked flies on in to the Birmingham Hippodrome next week as part of it's first ever UK and Ireland tour, and we are celebrating the occasion with a pair of interviews with the two of the show's leads.

In this first part, Kyle sits down with actress Nikki-Davis Jones, who plays Elphaba in the show, and discusses how Wicked is proving to be the gift that keeps on giving...

By Kyle Pedley.

Interview Conducted Thursday 24th April 2014.

Nikki Davis-Jones as Elphaba
in Wicked

“I’m clearly not very good in auditions!”

It’s a modest dash of self-deprecation from the lady who has bagged one of musical theatre’s most coveted leading roles, and further indicative of a warm, humble personality that likewise may initially seem at odds with the role she has been drafted in to play. But such humility is not without context and reasoning, with a string of standby and cover roles in shows such as Blood Brothers and Mamma Mia that led to eventual promotions being the career pattern for actress Nikki Davis-Jones thus far.

That was before a certain green-skinned opportunity came flying in on a golden broomstick and looks set to change her career ‘For Good’.

It’s a glorious, welcoming day in Cardiff, and we are upstairs at the city’s stunning Milllenium Centre talking with Nikki about her starring turn in musical phenomenon Wicked as it continues it’s first ever tour of the UK and Ireland. She’s portraying spirited protagonist Elphaba, the show’s re-interpretation of the Wicked Witch of the West in it’s inventive take on the tale of The Wizard of Oz.

“Wicked is what happens before, during and after Dorothy arrives in Oz” Davis-Jones explains, “So a really nice anecdote is like taking The Wizard of Oz and moving the camera and seeing what happens around it.”

“Elphaba is the Wicked Witch of the West we know from the film, so it’s her backstory and we find out what she was like growing up and the journey she goes through and the sacrifices she makes.”

The idea of sacrifice is something the actress herself toiled with when she grew weary of understudying or covering roles in London’s West End:

“Before Wicked, I’d played a few parts and said to myself ‘I’m not covering any more, this is it now, I’m just going for roles and I’ll put myself out of work and money for quite a while”

“And then standby Elphaba came along and I was torn... it’s Elphaba!”

Nikki Davis-Jones in Wicked

It isn’t difficult to see the appeal of being involved in one of the world’s most successful and beloved musicals of recent times. Billed as a ‘global musical phenomenon’, and rightly so, it is the kind of production which bleeds into the cultural psyche in a way few others can dream of, with an extraordinarily successful soundtrack, legions of fans across the globe, ticket sales that show no sign of dwindling and having recently been voted the 2nd Greatest Musical of all time behind only Les Miserables. And it’s a show which does terrific things for it’s leading ladies, catapulting previous Elphabas such as Idina Menzel (who originated the role and scooped a Tony Award for her efforts), Stephanie J. Block, Kerry Ellis and Shoshana Bean straight into the musical theatre elite.

But for Davis-Jones, her initial experience as standby Elphaba in London was still not quite the idyll it would eventually turn out to become:

“It’s actually harder being a standby because you never build a stamina, you never get rid of the nerves. It’s frightening... I take my hat off to all Elphaba standby’s.”

“So I kind of got to a place at the end of my 2 and a half years in the West End standing by and still didn’t feel comfortable with it. I still felt nervous every time I went on, and it was such a shame because that was the thing I wanted to leave having done - a week or something where I wasn’t nervous.”

“And I didn’t ever do that, so I left kind of unfulfilled.”

Fortunately, her accomplished standby turns had been spotted by the show’s producers and bigwigs, who went on to offer her the full-time lead role as Elphaba on the show’s first ever tour across the tour in the UK. It was a chance for the actress to finally banish those nerves and achieve that level of comfort with the role and material:

“With the whole rehearsal process, I’m at that place now. It’s taken months, and there’s still some days when I come in and I’m nervous and there are still parts of the show that make me nervous, but generally I’m so comfortably with it, it’s in my body and it’s in my voice and it’s kind of safe now.”

Davis-Jones (right) with Wicked
co-star Emily Tierney (left)

I went on to ask if finding that comfort zone, and being elevated to principle Elphaba, had allowed Nikki the opportunity to explore the character for herself, get her teeth into the role and exact her own stamp on the performance more than what her opportunities in London allowed:

“Definitely, definitely. When we first went back to rehearsals for the tour, I stripped everything away. Emily [Tierney] was new to it and everyone around me was new to it so it was really refreshing to go back and find my own way. I’ve kind of gone back to basics a lot and really found new things.”

“I understand her a lot more now.”

Davis-Jones is quick to sing the praises and admiration of her co-stars Emily Tierney, who plays ‘good witch’ Glinda, and Liam Doyle, who portrays the shows dashing leading man Fiyero:

“That’s the beauty of working with people like Emily and Liam and everyone else, there’s nobody there that gives me the same beige performance everyday. Everyday there’s something new... so I know if I give Emily something, she’ll come back to me with something else, it’s never the same. It’s brilliant.”

It’s a sense of companionship and camaraderie which is, at it’s core, what Wicked is all about, and Davis-Jones believes such bonds and ideals are the core reason behind Wicked’s success, in addition to it’s celebration of individuality and finding oneself:

“I think the main story of friendship and the compassion we have for Elphaba are the reasons [for it’s success].”

“What she goes through with bullying and not being accepted and not fitting in. People that come and talk to me and the letters I get, it’s all the same kind of people, and I think a lot of actors are that person.

“A lot of creatives didn’t fit in in their upbringing or whatever, and then when they come together that’s where they feel at home. So I think that’s why people can relate to it, and there’s something for everyone.”

Davis-Jones performed a selection of hits from
the show at last year's Manchester Pride.

In addition to it’s story and such themes and ideas, Wicked boasts, as mentioned, a soundtrack of already iconic hits including the barnstorming Defying Gravity, which are also in no small way a key part of the shows lasting impact:

“The music is just genius”, Davis-Jones lovingly exclaims, “[Composer] Stephen Schwartz is so clever, and what he’s given us to sing every day is just unbelievable. It crosses all different genres of music - there’s pop songs and opera, there’s classical musical theatre.”

“It’s just brilliant.”

The 2.5 million fans who have gone on to purchase a copy of the soundtrack seem to agree, but what of such super-fans who will already be exceptionally familiar with the show? And similarly, those who will be fearful that the touring production may have to somehow sacrifice on scope or spectacle by dint of going on the road? We asked Nikki of the differences that the tour may have compared with it’s London sister show:

“With Wicked, they’ve never scrimped on anything and that’s kind of why it works. Every theatre we go to, the set fits in, so there’s nothing we can’t have in any theatre. That was part of the team that planned all that.”

“For a touring show we’ve got like 16 in our orchestra. Usually there’s keys and a piano and a drum, if you’re lucky. We’ve got strings and everything.”

“There’s a few little things like we can’t come up from the floor - in the West End there’s a couple of trapdoors - so we haven’t got any of that, but what they’ve changed it to is equally as good or better. So no missing out.”

The enthusiasm, passion and excitement for the show is evident in every detail Davis-Jones goes into, and it’s clear the show is in very capable, and indeed grateful, hands.

Nikki Davis-Jones

And with Wicked, it has become something of the gift that keeps on giving for Nikki, as just this week it was announced she will be returning to the London show this October, only as standby no more, but rather as full-time principle Elphaba. It's a re-assuring and heartwarming continuation of her journey with the show thus far, and a sure sign that those more uncertain days of standby work were both worth it but also seemingly behind her.

“People get to work with me, then my work ethic’s good, I think.... ermmm, and this is kind of why it’s happened like that.”

Effusive, charming, and Wicked-ly good in this dream role, it isn’t difficult to see it is perhaps a lot more than just her work ethic that has earnt Nikki Davis-Jones her hard-earned role of a lifetime, and, with Elphaba and Wicked, a spot amongst musical theatre’s best and brightest.

NEXT TIME: Kyle chats with with Coventry-born Liam Doyle, who shot to fame winning GMTV's search for a musical superstar and is now portraying romantic lead Fiyero in the UK tour of Wicked...

Stay tuned on Facebook, Twitter and of course here on our blog for more exclusive WICKED content, including our coverage and review of the show itself!

WICKED will be running at the BIRMINGHAM HIPPODROME from Wed 9 July to Saturday 6 September 2014.

For more information on the show's run at the Hippodrome and to book your tickets online, CLICK HERE.
Alternatively, call Ticket Sales directly on 0844 338 500 to book your tickets now!

SHOW BOAT - THEATRE REVIEW

2014-07-03T01:46:00.000+01:00

SHOW BOAT AT THE BIRMINGHAM HIPPODROME

Theatre Run: Wednesday 02 - Saturday 05 July 2014

Performance Reviewed: Wednesday 02 July (Press Night)

Reviewed by Kyle Pedley

Birmingham certainly seems to be getting into the 4th July spirit this year, serving up a double dose of all-American Classic Musical goodness as Cape Town Opera’s Show Boat rolls into town for the week at the Hippodrome, following Annie Get Your Gun which kicked off it’s run at the New Alex yesterday evening (and garnered a 3 star review from us). But whereas Annie Get Your Gun seemed to be a strangely muted and subdued affair that didn’t live up to it’s glimmers of potential and pedigree, Show Boat is undoubtedly the real deal; a big, grand, hugely impressive slice of classic musical theatre writ large and executed with scope and grandeur that nevertheless displays extraordinary attention to detail.

Charting a roughly forty year period from the late 1800’s through to the early 20th Century, Show Boat follows the lives and goings-on of the owners, performers and dock workers of Mississippi show boat the Cotton Blossom, as they endure comings, goings, love, loss and seemingly everything in-between. A hugely important show for it’s time (having original been brought to the stage way back in 1927), not only due to it’s handling of key social and racial issues, but also in its watershed approach of infusing a Broadway musical with a dramatic narrative and shape in a way which had yet to be seen at the time.

It’s still easy to see the framework that Show Boat laid down for future productions to come, and in many ways it is still rightfully regarded as one of the most influential and defining musicals of all time. The principle love story between young ingenue Magnolia (played here by Magdalene Minnaar) and somewhat reckless gambling man Gaylord Ravenal (Blake Fischer) and the structuring of their finding one another and subsequent problems shows the seeds of many future musical couplings, particularly from co-lyricist Oscar Hammerstein II’s prolific future work with Richard Rodgers. And as mentioned, there are more serious and still-relevant subplots concerning racial prejudice and segregation - beautifully depicted with the likes of wise old Joe (Otto Maidi) and spirited wife Queenie (Nobuntu Mpahlaza) and particularly so with the more sombre and tragic story of mixed-race aspiring actress Julie (Angela Kerrison), whose fortunes take a notable turn for the worse when her parentage is revealed. And although credit must of course go to original novelist Edna Ferber for much of Show Boat’s core narrative and the sublime adaptation work done for the original stage production, Cape Town Opera simply cannot be praised enough for their fidelity and ambition in so sumptuously realising this ‘mother of musicals’ in such glorious, grandiose fashion.

Across the board this is nigh-faultless, staggeringly authentic staging and musical theatre artistry at it’s finest. Big, sweeping, colourful and supremely convincing are just a handful of the superlatives which spring to mind - from hair, costume and make-up perfectly capturing the variety of eras and locales brought to life across the show - from the humble Southern river shores of the Mississippi to the clapper girls and Hollywood glamour of 1920’s Chicago - to some of the most impressive and immersive set, staging and lighting design since the recent revival production of Evita. The sense of place and community evoked on stage is amongst the finest I have had the pleasure of seeing, and for a touring production, Show Boat has a dazzling, chameleonic identity and confidence in design that is quite remarkable.

This sense of scope and quality carries on to the enormous, 50+ strong ensemble and cast including the internationally award-winning Cape Town Opera Chorus, who all raise the roof with some of the beautiful numbers and set pieces the show can boast, not least of all the rousing ‘Can’t Help Lovin’ Dat Man’ and show-stopping, goosebump-eliciting ‘Ol’ Man River’, all of which soar through the auditorium with a full, powerful arrangement courtesy of the sensational Cape Town Philarmonic Orchestra. As truly great and impressive as Show Boat looks, it arguably sounds even better.

The featured players do a terrific job of leading amongst all the spectacle and sound, with Magdalene Minnaar supremely likeable and earnest as Magnolia, and a voice which beautifully tiptoes between more conventional musical stylings and some of the shows more operatic slant. Likewise for Blake Fischer, who, whilst perhaps a little too clean-cut as the more reckless Gaylord, nonetheless reaches into the characters stronger notes in the likes of ‘You are Love’ with confidence and power. Otto Maidi’s ‘Ol’ Man River’, as mentioned, seemed torn from his very soul, a masterful presence and performance which rightfully got the most palpable audience reaction of the evening. Other standouts amongst the cast include Graham Hopkins as the boat’s well-meaning Captain Andy, Catherine Daymond as ditzy aspiring actress/fame-seeker Ellie and Anthea Thompson who is deliciously cantankerous throughout as Magnolia’s stubborn, conservative mother (and Captain Andy’s wife) Parthy.

There’s very little else to say about Show Boat other than it comes as an absolute recommendation, and one that fans of musical theatre should make a priority of seeing. It’s thoroughly old-fashioned and classical but in all the right ways, and here gets the full-scale treatment in glorious style. Cape Town Opera only bring their wonderful productions to the UK every couple of years, so heed this chance and make it a priority to roll on down to the river (well, canal... it’s Birmingham after all) and experience their Show Boat while you can, for a spectacular, spectacular show it is indeed.

(A)MUSINGS RATING - * * * * * (5 out of 5 Stars)

MUSINGS

+ One of the most definitive, influential early musicals of the 20th Century

+ Gorgeously, gloriously realised by CTO

+ Both looks and sounds grand, stunning

+ Terrific central performances

+ Huge ensemble and the Cape Town Philarmonic adds extra gravitas and clout

+ Ol' Man River

- May be a little overlong or traditional for younger audiences

SHOW BOAT is running at the Birmingham Hippodrome from Wednesday 02 to Saturday 05 July 2014.

CLICK HERE for more information on the show's run at the Hippodrome and to book your tickets!

Alternatively, call Ticket Sales directly on 0844 338 5000 now to book your tickets!

For more news, updates and exclusive content from (A)musings, be sure to 'like' our Facebook page and follow Kyle on Twitter!

Press tickets for this performance of Show Boat were provided courtesy of the Birmingham Hippodrome directly. (A)musings Media gratefully acknowledges their generous invitation.

ANNIE GET YOUR GUN - THEATRE REVIEW

2014-07-02T01:28:00.000+01:00

ANNIE GET YOUR GUN AT THE NEW ALEXANDRA THEATRE, BIRMINGHAM

Theatre Run: Tuesday 01 - Saturday 05 July 2014
Performance Reviewed: Tuesday 01 July 2014 (Press Night)

Reviewed by Kyle Pedley

The Ambassador Theatre Group have once more dipped into the barrel of great classic musicals this year to lovingly resurrect Irving Berlin’s Annie Get Your Gun, based on the original film and stage musical depicting the (fictionalised) life and times of legendary real-life sharpshooter Annie Oakley. It’s from a creed and calibre of musicals that many will still herald as a ‘golden era’ of sorts, that still-adored pocket of the 1950’s and early 60‘s in particular where the likes of Berlin, Rodgers and Hammerstein and co were a major force in Hollywood and Broadway, and were irreversibly shaping and defining the musical genre as a whole.

Plucked from amongst the Carousel’s, South Pacific’s, Singin’ in the Rain’s and Berlin’s own output, Annie Get Your Gun has been revisited in 2014 with little-to-no alterations to character, plot or music, meaning the entire show is dripping in welcome nostalgia, has inherited a handful of quite iconic signature numbers within the medium, but also chugs along with so many of the old-fashioned narrative tropes and cliches that it may prove a trifle too twee or outdated for younger audiences in particular. For existing fans of the film or show, this is a faithful, honest-to-goodness revival that should tick most of the required boxes and expectations going in, plus there will be very few who can resist a good sing or toe-tap along to the likes of ‘There’s No Business Like Show Business’ and ‘You Can’t Get a Man With a Gun’.

The show centres around Buffalo Bill’s Wild West traveling show as it recruits talented young sharpshooter Annie Oakley (Emma Williams) after their star shooter, Frank Butler (Jason Donovan) challenges her to a shooting match and loses. Besting Butler, but yearning for his affection, Oakley quickly becomes an equally prolific and successful star of the show, and both the romantic and competitive streaks up an ante. As mentioned, it’s suitably atypical stuff, and some of the supporting storylines, particularly a secondary, somewhat star-crossed romance between two of the show’s talent (nevertheless played earnestly by Lorna Want and Yiftach Mizrahi) is filler of the most ephemeral and perfunctory variety. Still, it resonates plenty of old-fashioned charm and is perfectly enjoyable in that pleasant, inoffensive, Ye-Olde-Musical kind of way.

It has to be noted though that a lot of the production feels strangely muted and subdued. Bar Williams’ central performance (more on which later), this is a show which, despite it’s showy premise and location setting of the Wild West, being all big tops and brassy show business, fails to ignite or energise itself in the way recent revivals or adaptations of classics such as Singin’ in the Rain, Top Hat and even Seven Brides for Seven Brothers have done so. It’s bizarre and borderline inexplicable, particularly seeing as in terms of aesthetics and visual design the show is quite a sumptuous offering, with some particularly gorgeous and colourful costumes, set design and lightning in particular. It occasionally comes to life, briefly showing glimpses of it’s full potential in sequences such as ‘I’ve Got the Sun in the Morning’, and of course ‘Anything You Can Do’ remains as crowd-pleasing as ever, but generally this is a show which trundles along without any real fire in it’s belly or particular flare in it’s execution.

Unfortunately, a great deal of the blame for this seems to lie at the feet of Jason Donovan, whose performance as womanising, smooth-talking Frank Butler is so deflated and outside of his comfort zone that he comes across as horribly miscast. It’s a pity, given the great things we said about his performance in Priscilla: Queen of the Desert last year, but here Donovan truly lets the side down, with weak, breathy and even occasionally flat vocals and wobbly accent work that slips jarringly from Southern tang in dialogue to awfully proper British when singing. Whether or not Donovan is coasting, or there are more prescient reasons for such a woolly performance, is unclear, but it seems by default to make any recommendations for Annie Get Your Gun a Saturday experience, when Jonathan Wilkes performs the role in Donovan’s stead.

Fortunately, steering the good ship Annie with far greater prowess and presence is it’s leading lady, Emma Williams. She’s the star of the show in every respect, and her confident, assured turn in the iconic role is undoubtedly the production’s biggest selling point. With vocals, accent and character work all faultlessly on-point throughout, she is an absolute delight, and commands the stage throughout with her vibrant, thoroughly likeable turn. Oakley herself is a strong, resolute yet in some ways vulnerable character, but many feminists would likely baulk at the fact that her core motivation and goal throughout the show is to win the affections of the mildly misogynistic and chauvinistic Frank. Fortunately, Williams is so winning and feisty in the role that even when the character is at her most hero-worshipping and needy of Frank, it is forgivable and difficult to not continue rooting for her.

Annie Get Your Gun is a mixed bag of results for sure, and there’s certainly plenty of areas where the production could do with some re-invigoration and tweaking, not the least in finding a more fitting and enthused leading man. However, pushing Donovan’s non-performance aside, and some of the other criticisms mentioned (tighten everything up folks, and add some extra razzmatazz) this is still a faithful and buoyant revival of a genuine classic which can boast a quite wonderful central performance and a catalogue of musical theatre hits which are as enduring and beloved as they are for a very clear, and indeed audible, reason.

(A)MUSINGS RATING - * * * (3 out of 5 Stars)

MUSINGS

+ Emma Williams is an outstanding Annie Oakley

+ The still-superb soundtrack - Berlin knew what he was doing

+ A visual treat

+ A vintage musical faithfully revived from the classic era

+ / - The story and plot are thoroughly old fashioned and twee

- Jason Donovan cripples the role of Frank and sucks a lot of life out of the show

- At times feels like could all use a dose of energy and spark

- The odd bit of questionable casting that looks almost school-play in approach (see: Chief Sitting Bull)

ANNIE GET YOUR GUN is running at the BIRMINGHAM NEW ALEXANDRA THEATRE from Tuesday 01 to Saturday 05 July 2014.

CLICK HERE for more information on the show and to book your tickets!

Alternatively telephone the New Alexandra Theatre’s booking line direct on 0844 871 3011.

For more news, updates and exclusive content from (A)musings, be sure to 'like' our Facebook page and follow Kyle on Twitter!

Press tickets for this performance of Annie Get Your Gun were provided courtesy of the New Alexandra Theatre directly. (A)musings Media gratefully acknowledges their generous invitation.

DOLLY PARTON: BLUE SMOKE WORLD TOUR - REVIEW

2014-06-23T02:52:00.000+01:00

DOLLY PARTON: BLUE SMOKE WORLD TOUR AT THE LG ARENA, BIRMINGHAM

Tour Dates: Until Wednesday 2 July 2014 (UK dates), 14 July 2014 (International)
Performance Reviewed: Sunday 22 June 2014

Reviewed by Kyle Pedley

As the undisputed Queen of Country drew a crisp, powerhouse a capella rendition of ‘Little Sparrow’ to a close at Birmingham’s LG arena this evening in the second act of her Blue Smoke World Tour, it was difficult to fathom what superlatives could be reached for to do this veritable legend of the music industry, and entertainment industry as a whole, justice suffice. The enamored audience had already been treated to an impressively diverse catalogue of hits old and new (including highlights from the titular new album), and many of her prolific, signature numbers were still to come, but it was surely with the reflective, almost mournful ‘Little Sparrow’, it’s stripped back, minimalist staging and Parton’s faultless vocal that the irrepressible charm, charisma and undeniable genius of Miss Parton was at it’s most raw and irrefutable.

For Dolly only really needs Dolly to put on a show, and her latest tour wisely keeps things nice and simple across the board - the lady herself, her larger-than-life personality and equally demonstrable heart, and, of course, her music. As endearing and vibrant as ever, it would almost be excusable if Parton spent the entirety of her time on-stage without belting out a single tune, so fun, insightful and winning are her numerous reflections on her life thus far and musings on the ways of the world. ‘It costs a fortune to look this cheap’ is one of her staples, and as Parton rolls it out again she acknowledges herself how she ‘always says it’, but it is still lapped up and loved by everyone watching. There is not a trace of falseness or pretence, for as ever she is the most frequent and willing subject of her own ridicule and self-deprecation. It may have been said ad nauseum, but she truly remains one of the most endearing and lovable icons to grace the international stage, and an evening in her witty, warm-hearted presence is a rather precious experience indeed.

Of course, as natural and gifted an orator as she may be, it is her truly eclectic array of hits that draw the crowds in their thousands, and as mentioned her Blue Smoke World Tour is almost faultless in it’s selection. The first act is where the majority of her new material is given time, and it gets the evening of to a fresh, more exploratory start. The title track ‘Blue Smoke’, for instance, is itself an upbeat slice of fun, peppered with plenty of ‘choo-choo’ and ‘woo-woo’ perkiness, and a notable similarity to her Academy Award-nominated ‘Travelin’ Thru’ (sadly absent here). Parton clearly has fun performing it, but it’s with the more personal touch and bluegrass stylings of some of her other hits as ‘Smoky Mountain Memories’ and ‘Coat of Many Colors’ that the shows soul and dimension emerges, and a real sense of Parton the artist begins to set in.

And what an artist she is - completely belying her years (68, remarkably), bopping about on stage with boundless energy and cycling through a bevy of instruments including guitar, fiddle, saxophone and even her own personal harmonica, naturally all adorned with an abundance of rhinestones for that quintessential Dolly look. It’s an almost dizzying display of musical ability that sits impressively in tandem with her songwriting prowess and a voice that remains as silky, powerful and clean-cut as ever. Whether tackling gospel, folk, pop etc. and be it her own work or her inventive re-imagining of the works of others from Bon Jovi’s ‘Lay Your Hands On Me’ to Bob Dylan’s ‘Don’t Think Twice’, her rich, soulful soprano vibrato, likewise, shows absolutely no sign of slowing down, as powerful and passionate as ever.

By the time the intermission, and a costume change, were done, Parton brought out the big guns (surely a pun to be made there) for a rousing finale that quick-fired the likes of a romantic medley, ‘Islands in the Stream’, ‘I Will Always Love You’ and, naturally, seminal favourite ‘9 to 5’ which she partly left in the hands of a very willing and exuberant audience. It’s a somewhat predictable denouement to the evening, but understandably so, and there’s the very definite feeling that everyone involved wouldn’t have had it any other way, and when you’re dealing with the signature numbers from a genuine musical icon (a word bandied about far too often but completely applicable here) it’s a fittingly exhilarating and satisfying finale.

Still searching for that appropriate superlative to fittingly describe the talents, presence and showmanship of Miss Parton, and the brilliant showcase of all these things that her Blue Smoke World Tour proves to be, ‘unmissable’ seems to be the only one that comes close. It may sound a little cold or commercial, and Tennessee knows humble Dolly herself would never have the hubris to say it herself, but here is an undisputed legend, one of the few of her calibre and enduring success still performing with such effortless ease, showing everyone how it’s done and doing so in the most entertaining and joyous fashion possible, and that is absolutely an occasion that no self-respecting fan of Country, music, or heck, a good time as a whole, should allow themselves to miss.

(A)MUSINGS RATING - * * * * * (5 out of 5 stars)

MUSINGS

+ A genuine icon of the music industry, still at her peak

+ No frills - all Dolly, all brilliant

+ Diverse, eclectic Setlist of old and new

+ Songwriting and vocals as powerhouse as ever

+ Some inspired covers and arrangements

DOLLY PARTON: BLUE SMOKE WORLD TOUR ran at the LG ARENA, BIRMINGHAM for one night only and is no longer performing at the venue. The tour continues across the UK and Europe until Monday 14 July 2014.

CLICK HERE for more information on the tour's run in the UK and to book your tickets!

For Europe and International tickets, CLICK HERE.

For information on future events at the LG Arena, Birmingham, head on over to the Official Website.

Press tickets for this performance of Dolly Parton: Blue Smoke World Tour were provided courtesy of Guesty PR. (A)musings Media gratefully acknowledges their generous invitation.

DAWN FRENCH: THIRTY MILLION MINUTES - UK TOUR REVIEW

2014-06-19T00:50:00.000+01:00

DAWN FRENCH: THIRTY MILLION MINUTES AT THE NEW ALEXANDRA THEATRE, BIRMINGHAM

Theatre Run: Wednesday 18 - Friday 20 June 2014
Performance Reviewed: Wednesday 18 June 2014

Reviewed by Kyle Pedley

Dawn French’s first ever solo tour (yes, really), Thirty Million Minutes, is prefaced with an announcement that this is a show specifically for ‘nice’ people, and anybody critical, cynical or otherwise negative do not belong there. It dovetails off of that same well-meaning, bubbly, inoffensive and down-to-Earth vibe and persona that French has cultivated pretty much faultlessly across her career. It’s the same warmth and cuddly bonhomie that made The Vicar of Dibley such an irrepressibly lovable show, even when some of it’s plotting or narrative work was a trifle humdrum. It’s why French remains such a beloved and well-regarded National treasure - she genuinely registers as a nice person herself, and, just as crucially, a very empathetic and real one.

Thirty Million Minutes, then, compounds on this with a funny, honest, heartwarming, and even occasionally heartbreaking, reflection on the life that has lead the comedienne to the titular milestone (that’s how long she’s been alive, you see!). The notion of time, and the importance of savouring the moment as well as appreciating what and who have shaped your past, is the predominant theme running throughout this mostly autobiographical show. Naturally, given the two hour running time, it is mostly anecdotal and picks a selection of ‘best bits’ so to speak, but French does a beautiful job of creating a microcosmic take on life as a whole - there are moments of genuine hilarity, such as an early account of a real-life visit from the Queen Mother who French depicts as some Magwitch-ian horror (clue: it’s the teeth), just as there are brutally honest and moving moments of sadness, loss and frustration such as the suicide of her beloved father whilst she was still a teenager. It’s the human condition and life’s verisimilitude in a wonderfully fleshed out and engaging evening - one minute she can be enraged at a journalist poking into the life of her adopted daughter or lamenting the deep-seated racism her and previous husband Lenny Henry had to endure over the course of her marriage, and the next she can have the auditorium in fits of hysterics recounting an occasion where she was required to examine a relative’s genitals, or simply miming the hell out of The Eurythmics or Procol Harum in a callback to her formative years.

Some may find it all lacks edge or is a trifle too mawkish or pedestrian in it’s message, or even comes across as a little too structured and scripted, and indeed if you are after a cutting night of contemporary comedy then Thirty Million Minutes may not scratch your itch. However, in many ways that is precisely the point of the show, it isn’t even really about comedy at all, but rather a very earnest musing on life, love, family and friends as told and recounted by an instinctively very funny and talented lady. French’s energy and spirit is unbounded throughout, and not only does she look considerably younger than her years, she radiates that aforementioned humble naturalism and, yes, niceness, that completely strips the shows’ heavier or loftier moments of any potential shred of ego or soapboxing. Contrary to what she says in the show, she never comes across as needy or entitled, and where one could easily have expected an evening of name-dropping or leaning on the familiarity of shows such as Dibley, her partnership with Jennifer Saunders or some of her more prolific film work (Harry Potter, The Chronicles of Narnia etc.), such things are merely touched upon in passing or left out entirely. This is a show about Dawn French the mother, the wife, the sister and the daughter, and is profoundly more resonant and impacting as a result.

Even some of the greatest comics have tripped up recently when passing off their life stories as entertainment (see the mixed response to the wonderful Joan Rivers’ A Work in Progress by a Life in Progress) but French has navigated such waters with stirring, moving and frequently hilarious results. Go see it to laugh, to cry, and to maybe even make a few life reflections and decisions of your own, for in Thirty Million Minutes French has crafted a thing of quite subliminal but unshakeable humanity and genius.

(A)MUSINGS RATING - * * * * * (5 out of 5 Stars)

MUSINGS

+ Honest, moving, funny, real

+ French is a naturally gifted and empathetic orator

+ Wonderful cross-section of anecdotes and reflections

+ Pretty much omits showbiz and celebrity

+ Utterly devoid of ego or pretence

DAWN FRENCH: THIRTY MILLION MINUTES is running at the New Alexandra Theatre, Birmingham from Wednesday 18 to Friday 20 June 2014.

CLICK HERE for more information on the show's run at the Alex and to book your tickets!

Alternatively telephone the New Alexandra Theatre's booking line direct on 0844 871 3011.

Press tickets for this performance of Dawn French: Thirty Million Minutes were provided courtesy of Neil Reading PR. (A)musings Media gratefully acknowledges their generous invitation.

DESIGN FOR MURDER - THEATRE REVIEW

2014-06-18T00:05:00.002+01:00

DESIGN FOR MURDER AT THE WOLVERHAMPTON GRAND THEATRE

Theatre Run: Tuesday 17 - Saturday 21 June 2014

Performance Reviewed: Tuesday 17 June 2014 (Press Night)

Reviewed by Kyle Pedley

PLEASE NOTE: There is a lack of supplemental images in this review due to there being no production stills of Design for Murder available.

ID Plays’ Summer Season 2014 at the Wolverhampton Grand continues this week with Design for Murder, a self-proclaimed ‘psychological drama’ as opposed to the more atypical murder mystery mould it’s title may first evoke. After a mixed audience and critical response to the season’s first show, Ladies in Retirement, it is encouraging to see ID springing back to form with a cracking, twisty-turny evening of drama, intrigue and even the odd giggle. Design for Murder may not be anything the estates of Conan Doyle or Christie need worry about, but it is nonetheless a consummately entertaining piece of theatre that is genuinely intelligent in places, has the decency to not take itself too seriously and offers enough U-turns and revelations to keep even the most ardent Marple enthusiast second guessing right up until the end.

Despite not being, as mentioned, a conventional murder mystery, Design certainly borrows one of it’s most immediate and obvious tropes - being set entirely in the living room of characters Moira (Carly Nickson) and Clive Richards (Paul Lavers). The Richards’ estranged marriage is seemingly at breaking point - bored, unhappy yet dependent Moira is continually trying her hand at new artistic outlets - her latest being an expressionist painting that looks akin to a Van Gogh interpretation of the digestive system. Unimpressed yet defeated, husband Clive spends his days pottering around in the garden and making financial cutbacks even as smarmy business partner Philip (former Emmerdale star Peter Amory) seems to contrarily be on quite the upturn, whilst simultaneously showing a rather intimate interest in Moira. Into this awkward and tense dynamic comes an offer of a buyout for Clive and Philip’s business, which ultimately serves as the catalyst for a tangled series of betrayals, double-crosses, plotting and, of course, murder.

Eschewing a traditional ‘whodunnit’ approach, Design instead focuses on the growing animosity and tension amongst it’s core trio of characters, something which is only heightened when Bridget Lambert’s character arrives and her allegiances and even identity immediately fall under question, to both the characters and indeed the audience. The growing distrust and backstabbing creates something of a palpable sense of tension and suspense, especially given the shows title, as each skeleton in the closet or proposal of betrayal ratchets up the uncertainty of exactly where it is all heading and who, if anybody, will be left standing by the end.

The first Act does a terrific job of establishing the surprisingly nuanced relationships (particularly Moira and Clive) and offers shades of duplicity and misdirection, but it is in the second where Design goes all out in it’s back and forthing and surprises. It is here that the show sacrifices a lot of its pretense of realism - characters bandy about talking of murder and plotting to kill as lightly and inconsequentially as though they were devising a shopping list, and by the end some of the characters are given foresight and cunning of almost evil genius levels - but despite the increased absurdity and suspension of disbelief, it’s a genuinely thoroughly entertaining romp that, crucially, keeps plenty of aces in play and had this mystery veteran surprised and doubting himself even as the final curtain fell.

The cast assembled do a solid job, with Carly Nickson’s somewhat infantile, bratty turn as Moira a highlight throughout. Peter Amory makes Philip suitably lecherous and dubious, and Paul Lavers recovered from a wobbly start to eventually make Clive very possibly the show’s most interesting, unpredictable and layered character. Bridget Lambert’s character is perhaps the least realised and developed, but Lambert should be applauded for always keeping her inscrutable to the point of suspicion.

Writer Donald F East and Producer-Director Ian Dickens have come up trumps with Design for Murder, and anybody with a passing interest in this ilk of mystery/suspense drama should most definitely check it out. It is one of very few shows where the arrival of the interval felt like an unwanted intrusion and had me wishing I could head straight into Act Two - being genuinely invested in the plot and characters and wanting to know what transpires next. Yes, it’s more than a little silly in places, and at times the characters and writing threaten to paddle into realms of caricature and parody, but only in the vein of, say, Midsommer Murders or some of the woolier Poirot or Marple’s, so by that pedigree and benchmark it’s target audience should find a great deal to enjoy and appreciate in this surprisingly complicated and thoroughly satisfying foray into the mentality of murder.

(A)MUSINGS RATING - * * * * (4 out of 5 Stars)

MUSINGS

+ Surprisingly complicated and involving plot

+ Genuinely intriguing and entertaining

+ Maintains the twists and mysteries until the very end

+ Perfectly judged and executed denouement

+ Well-observed, erratic relationship between Clive and Moira

- Is a touch too silly in places

- Murder being so lightly bandied about and discussed can register a little incredulous

DESIGN FOR MURDER is running at the Wolverhampton Grand Theatre from Tuesday 17 to Saturday 21 June 2014.

CLICK HERE for more information on the show's run at the Wolverhampton Grand and to book your tickets!

Alternatively, telephone the Box Office directly on 01902 42 92 12.

For more news, updates and exclusive content from (A)musings, be sure to 'like' our Facebook page and follow Kyle on Twitter!

Press tickets for this performance of Design for Murder were provided courtesy of the Wolverhampton Grand Theatre directly. (A)musings Media gratefully acknowledges their generous invitation and support.

THEATRE PREVIEW - ANNIE GET YOUR GUN

2014-06-17T15:00:00.000+01:00

ANNIE’S GOT HER GUN AND IS HEADING TO BRUM!

Jason Donovan leads the cast of a major new production of Irving Berlin’s Annie Get Your Gun as it rolls into town at the Birmingham New Alexandra Theatre next month!

Dates: Tuesday 01 - Saturday 05 July 2014

Preview by Kyle Pedley

The West Midlands is readying to welcome back Aussie star of stage, screen and the pop charts, Jason Donovan, as he heads up a major new revival of the beloved, Tony Award-winning Musical Western classic, Annie Get Your Gun. He will appear alongside TV, Film and Theatre star Emma Williams, who will be playing the title role of Annie Oakley and Normal Pace as Buffalo Bill in the new production from the producers of recent revival hits South Pacific and West Side Story.

“I’ve been very lucky in having some great roles to get my teeth into in the past, but now having the chance to star in the UK premiere production of this award winning version of such a classic musical is very exciting.” Donovan said of being involved in the production.

“I’m very much looking forward to performing such brilliant songs and appearing alongside a truly great cast as we bring the Wild Wild West to theatres across the country.”

With timeless classic songs including 'There’s No Business Like Show Business' and 'Anything You Can Do, I Can Do Better', Annie Get Your Gun tells the legendary story of Buffalo Bills Wild West sharpshooter, Annie Oakley, and her romance with fellow sharpshooter Frank Butler. When Buffalo Bill’s Wild West show comes to town, it only takes one glance for sharp-shooting Annie to fall head over heels with Frank, but both reveal their fiercely competitive natures as they vie for best shot - and each other’s hearts.

Leading lady Emma Williams is no stranger to musicals, having been nominated for a prestigious Olivier award for her performances in Chitty, Chitty, Bang Bang and Love Story, and is excited to be stepping into the saddle with another iconic role:

“I’m thrilled to be playing the legendary Annie Oakley. [She] has been played by so many incredibly actresses before that it’s a privilege to fill those cowgirl boots, and I couldn’t be more excited to be 'Doin’ What Comes Natur’lly'!”

Howard Panter and The Ambassador Theatre Group are proud and excited to be taking the show on tour across the UK, and all musical theatre enthusiasts and cowpoke ought’ dust off their tassles and boots and head on down to the New Alexandra Theatre in Birmingham, where the show will be running for one week only commencing Tuesday 1st July!

ANNIE GET YOUR GUN will be running at the Birmingham New Alexandra Theatre from Tuesday 01 - Saturday 05 July 2014.

CLICK HERE for more information on the show's run at the Alex and to book your tickets!

Alternatively telephone the New Alexandra Theatre's booking line direct on 0844 871 3011.

GOOD PEOPLE - THEATRE REVIEW

2014-06-06T20:27:00.000+01:00

GOOD PEOPLE AT THE NOEL COWARD THEATRE, LONDON

Theatre Run: Runs until Saturday 14 June 2014
Performance Reviewed: Thursday 05 June 2014

Reviewed by Kyle Pedley

Good People is ostensibly a show about class. Or rather peoples relationship with class and the social, financial and even emotional barriers it places upon oneself. Do we allow ourselves to be both defined and confined by our roots and upbringing, or is the idea of any choice in the matter a fickle illusion orchestrated by a mixture of luck and lifes happenstance? It’s a concept that is far from new to theatre, but in this, David Lindsey-Abaire’s Boston-set drama, it is given fresh life and perspective by dint of being filtered through the American psyche and in the form of two flawed, interesting, contradictory yet strangely complementary lead roles beautifully performed by Imelda Staunton and Lloyd Owen.

Staunton plays Margeret, or ‘Margie’, whom we first meet down on her luck, pleading to not be let go from her cashier job due to a combination of her age and having a disabled daughter hurting her chances of any other employment. She’s brass but spritely, stubborn but generally well-meaning, and as is the credo for all characters in Good People, a delicate handling of both the good and the bad, the yin bickering with the yang. She’s ‘Southie’ through and through, proud and demonstrative of humble roots, rough round the edges but bursting with vim and character. The struggling single mother writ large, her only moral support comes from best friend Jean (Lorraine Ashbourne) and somewhat self-serving neighbour-cum-landlady Dottie (Susan Brown), with occasional respite coming from the odd, mostly-fruitless trip to the bingo hall.

Into Margie’s seemingly hopeless circumstance comes former flame Mike Dillon, whom she hears is making good for himself since returning to the Boston area having become a doctor. Rent due and jobless, and with a little egging on from Ashbourne’s fabulously brassy Jean, Margie re-acquaints herself with her ex in the hopes of him being able to offer, or at least help orchestrate, a job of some sorts. He has, as Margie points out, always been ‘good people’. When this fails, she practically invites herself to his weekend birthday celebration in the hopes of siphoning some employment from amongst his well-connected friends and colleagues.

The first acts busy set-up and character work make way for a far more focused second, where a prolonged sequence set at Mark’s fancy ‘Chestnut Hill’ home sees the show, and it’s cast, really come alive. The initial plot drive of a struggling woman pitted against all manner of hardships remains intact, but comfortably makes room for a much more interesting rumination and exploration on class and social divide, and it’s a deliciously even-handed contrast between the characters of Margie and ‘lace curtain’ Mark. How responsible are we for our own standing and progress in life? How easy is it to shed off our former lives and constraints and make something of ourselves? Are repeat failures born of our own shortcomings and attitudes? Naturally, Margie and Mark do not see eye to eye here.

And, whilst this may all convey images of characters politically or philosophically waxing lyrical, it is instead conveyed brilliantly through the witty, biting and at times even hilarious interplay between the characters, who as mentioned are engagingly balanced and rounded. Mark is clearly a dedicated, hard-working and aspirational man whose successes are founded, yet Lloyd Owen imbibes him with a passive aggressive streak that at times threatens to dip into something a trifle darker and borderline ruthless as Margie’s presence and revelations begin to wear thin. Of course, not helping this is the fact that his marriage to Angel Coulby’s Kate is not quite the idyll expected or that he attempts to paint out (they’re going through marriage counseling, of course).

But for all of Mark’s secrecy and pride, Margie too demonstrates an obsessiveness and ruthlessness of her own, stubbornly refusing to acknowledge any personal fault for her circumstances and a spitefulness in so casually dredging up secrets and scandal from Mark’s past, including a real doozy about daughter Joyce’s parentage. Still, she’s so fiery and spirited, and Staunton’s performance so winning, that it’s impossible not to root for her. And amongst it all, Coulby does a terrific job of keeping the bemused Kate understandably inquisitive and just the right side of embittered.

It’s all cracking, and indeed crackling, theatre, and is really buoyed by the brilliant writing, direction and performances that continually chart an engaging blend of pathos, sincerity, drama and plenty of humour. Yes, Good People is deceptively funny, be it with some of the hilariously awkward, fish-out-of-water moments Margie in the Dillon household (‘how the f**k should I know’, she sardonically quips when asked if the wine is good) or just the generally solid character work and dynamics, with the odd dash of observational comedy thrown in for good measure - surely the young male store manager who keeps going to bingo must be gay?

Of course, front and centre and carrying the play with an extraordinary central performance is Imelda Staunton, surely the Nations’ most gifted character actress. With incredible sincerity she taps into the nervy, sassy fire of Margie whilst continually offering a character who is clearly wounded, needy and one misfortune’s step away from desperation. A faultless accent and Staunton’s innate comic timing being equally on-point, it is a towering turn that further cements this carefully observed and impressively crafted show as a real must-see and Staunton as an actress of nigh-incomparable conviction and talent.

(A)MUSINGS RATING - * * * * (4 out of 5 Stars)

MUSINGS

+ Stunning central performance from Imelda Staunton

+ Sterling support from Owen, Coulby and Ashbourne

+ Sharply written, keenly observed take on class and social divide

+ Terrifically nuanced character work

+ Plenty of levity and comedy throughout

+ Ends perfectly

GOOD PEOPLE is running at the Noel Coward Theatre, London, until Saturday 14 June 2014.

CLICK HERE for more information on the show's run at the St James and to book your tickets!

Alternatively, call the Box Office directly on 0844 482 5141 now to book your tickets!

For more news, updates and exclusive content from (A)musings, be sure to 'like' our Facebook page and follow Kyle on Twitter!

Press tickets for this performance of Good People were provided courtesy of the Corner Shop. (A)musings Media gratefully acknowledges their generous invitation.

THIS MAY HURT A BIT - THEATRE REVIEW

2014-06-06T16:53:00.000+01:00

THIS MAY HURT A BIT AT ST JAMES THEATRE, VICTORIA

Theatre Run: Wednesday 14 May - Saturday 21 June 2014
Performance Reviewed: Thursday 05 June 2014 (Matinee)

Reviewed by Kyle Pedley

Going into Stella Feehily’s satirical take on the NHS, This May Hurt A Bit, one would be forgiven for expecting an onslaught of left-wing sentimentality or political bulldozing. The shows marketing and poster colourfully depicts a caricatured David Cameron skulking into the labyrinthine ward of a sickly woman like some nightmarish imp and the programme itself begins with an impassioned plea by Jacky Davis of ‘Keep Our NHS Public’ to rally against the devilry and smoke-and-mirrors of the coalition's treatment of the National Health Service.

However, despite elements of this running throughout This May Hurt A Bit, Stella Feehily, in conjunction with director Max Stafford-Clark, have crafted a far more balanced, even-handed affair and a show that is just as much about the people as it is the institution. Public hospital staff can be rude, dismissive, detached and downright incompetent, whilst wards themselves are over-crowded, inexcusably unclean and in places little more than glorified conveyer belts to the morgue. Yet this is levied with the fact that continuing cuts, exorbitant PFI interest rates and cyclical, perfunctory re-organisations (each new Health Minister said to needlessly shuffle with the system akin to a dog with a plaything) having lead to crippling levels of staff shortage and funding depletion. Whilst ultimately the show does fall quite comfortably in the pro-NHS camp - “Freedom from the fear of costs of ill health... We must never go back” Stephanie Cole’s Iris cites - waving around the looming threat of privatisation and foundation status almost akin to a doomsday prophecy (including a hilarious but very true nod to the privatisation of the rail services), this is not a naive or romanticised take on it’s subject matter, making it all the more truthful and moving as a result.

Predominantly structured around Cole’s character and her immediate family, lending proceedings a nicely empathetic and human angle, the show still sees fit to litter proceedings with some political perspective, from it’s cheekily critical prologue on the governments spin on it’s recent Health and Social Act, through to occasional cameo from contrasting historical perspectives on the NHS in the form of its founder, former Labour Minister of Health Aneurin ‘Nye’ Bevan (Hywel Morgan) and staunch Tory and National treasure Sir Winston Churchill (Tristram Wymark). The pair waltz in and out of the action with nary an explanation or acknowledgement, and as is the case with the numerous ironic, witty if a little heavy-handed interludes and ‘commercial breaks’, Feehily and Stafford-Clark wisely let the content speak for itself and do not hold the audiences' hand in interpretation. Plus they get extra marks for a hilariously post-modern Margaret Thatcher cameo.

In fact, the pair make a solid partnership across-the-board, with the writing and Stafford-Clark’s direction organic, versatile and impressively fluid. Moments of genuine tenderness and poignancy can quickly burst into humour or deliberate absurdity and the show's message and perspective is, generally, deftly interwoven and demonstrated with admirable clout at times - see, for instance, the second act’s desperate nurse Gina (Natalie Klamar) who seems to demonstrate many of the woes facing NHS staff. She is bound by at times farcical standards of protocol and guidelines, and in a position where she can literally be sued, fired or forced to choose whose life to save at any minute. As the desperation mounts, it is quickly countered by a succinct, purposeful demonstration of how silently efficient and capable the NHS staff are where and when it counts as a patient slips into seizures. This being, of course, a patient that was nonetheless somewhat neglected beforehand due to Gina’s overbearing schedule and patient list. The balancing act continues.

The cast do a splendid job, with Stephanie Cole’s Iris a notable highlight. Offering shades of her Waiting for God’s Diana Trent, Iris is at times a trifle foul-mouthed, stubborn and cantankerous, but is a warm spirit and a staunch supporter of the NHS with a wealth of very human and sincere reasons for being so. Cole is a real delight in the role - radiating warmth, charisma and heart, and unsurprisingly hitting the notes both comedic and dramatic effortlessly. William Hope, similarly, offers fantastic comic timing and character work across four different roles, including a Grim Reaper that seems plucked straight from the BBC comedy archives and a gloriously insufferable and know-all American physician married to Jane Wynam’s snobbish ‘new-Republican’ Mariel. In fact, much of the cast handle numerous roles, with Frances Ashman showing impressive versatility from a useless ward receptionist to a scene-stealing mental health patient and co-star Hywel Morgan offering similar range and talent. Natalie Klamar spends much of the first act busying about in a handful of minor, mostly informative roles that do her little justice, but absolutely shines in the second Act as Gina, lending the show a tremendous amount of its heart and impact.

It’s almost impossible to call This May Hurt A Bit anything other than a success. It offers an incredibly fair yet impacting perspective on one of the Nation's most prolific and divisive institutions, whilst also quite crucially shedding light upon the important and potentially irreversible changes that are continuing to be implemented, more often than not outside of general public awareness. And yet all of this is very cleverly interwoven into a funny, moving tale and a surprisingly accomplished slice of new theatre that anyone with any experience of the NHS (hint: that’s all of you) should find both completely accessible and thoroughly entertaining.

(A)MUSINGS RATING - * * * * (4 out of 5 Stars)

MUSINGS

+ Impressively nuanced and fair depiction of the NHS

+ Brilliantly written and fluidly directed

+ Both informative and entertaining about important political issues

+ Stephanie Cole is once again an absolute treat

+ Natalie Klamar's Nurse Gina

+ Funny, heartfelt and affecting

- Some of the informative interludes are a little heavy-handed

THIS MAY HURT A BIT is running at the St James Theatre, Victoria, from Wednesday 14 May to Saturday 21 June 2014.

CLICK HERE for more information on the show's run at the St James and to book your tickets!

Alternatively, call the Box Office directly on 0844 264 2140 now to book your tickets!

For more news, updates and exclusive content from (A)musings, be sure to 'like' our Facebook page and follow Kyle on Twitter!

Press tickets for this performance of This May Hurt A Bit were provided courtesy of the Target-Live. (A)musings Media gratefully acknowledges their generous invitation.

MALEFICENT - FILM REVIEW

2014-05-28T17:30:00.000+01:00

MALEFICENT

Release Date: 28 May 2014 (UK)
Director: Robert Stromberg
Running Time: 97 Minutes
Starring: Angelina Jolie, Sharlto Copley, Elle Fanning, Imelda Staunton, Lesley Manville, Juno Temple
Screening Reviewed: London Press Screening

Reviewed by Kyle Pedley

The biggest fallacy that must be quashed immediately when addressing Disney’s live action Maleficent is that it is somehow an alternative take upon the events of their 1959 animated classic Sleeping Beauty. This is not, as the studio has gone to pains in an attempt to paint out via it’s marketing and pre-release hype, a film which seeks to flesh out it’s characters and shift perspective on how and why the titular character fell to villainy, but rather an entirely different story made piecemeal by dint of a few familiar scenes, a handful of shared characters and the deliberately vague narration that attempts to dismiss the original film as a distorted version of the actuality it goes on to supposedly portray. The problem is, Maleficent doesn’t so much fill in the gaps and paper over the cracks of Sleeping Beauty as much as it wallpapers over the whole thing with an altogether different and at times completely juxtaposing series of events and characters.

Perhaps the biggest flaw in this approach is that it unquestionably fails in it’s raison d’etre - to give depth and dimension to the self proclaimed ‘mistress of all evil’. Whilst Angelina Jolie is admittedly wonderful in the role, this is not the Eleanor Audley uber-villainess of yesteryear, but a wounded, hurt woman who suffers a bit of a meltdown but almost instantly attempts to make amends. Following on from the disjointed and overlong exposition that kickstarts the film, the character’s spiraling descent into hatred and madness does temporarily see the film jump to life, with Jolie deliciously indulging in the darker moments and offered plenty in the way of ammunition and motivation in her war against newly crowned monarch, and former love interest, King Stefan (Sharlto Copley). The board and pieces are set in place, and the dark fairy beloved for her intense, unyielding wickedness begins to take glorious, malevolent shape.

And then gradually, as the film segues into it’s second reel, with the plot focus shifting onto young Sleeping Beauty Aurora herself, the life, fire and magic slowly begins to fizzle out and the dawning realisation of what Disney are doing slowly becomes horribly brazen. This is not Maleficent the tragedy, or even Maleficent the anti-hero, but instead Maleficent the meandering hero. Bar a small handful of scenes where she revels in her devilry, Jolie is forced to spend the majority of the middle portion of the film solemnly stalking Aurora and regretting the curse she placed upon her at birth. You can almost hear the brainstorming and mentality of those initial plot and production discussions - ‘we’ll twist the whole tale on it’s head!’ ‘let’s make her the unlikely hero!’ and, in the process, moments of magic and whimsy from the animated classic are horribly subverted - Aurora’s minder fairies are now three quarrelsome, useless and borderline-neglectful morons (though Imelda Staunton, as always, does the best with what she’s given), her crow familiar Diablo is now Diaval (Sam Riley) and can take the shape of anything she wishes, which only leads to some serious third act oversights (similarly so with Maleficent’s fluctuating and inconsistent magical prowess), and subplots such as the romance between Aurora and young Prince Phillip (Brenton Thwaites) are shoehorned in briefly, perfunctorily and end up ultimately being so completely irrelevant. The most glaring, increasingly so as the film progresses, is Maleficent herself; so vapid and starkly contrasted with the very essence and heritage of the character that it all begs the question why? Who actually wants to see a movie about Maleficent where she is so robbed of her menace and evil, the very thing that has cemented her as such an enduring figure in the Disney catalogue of rogues, and distorted into what is continually re-affirmed in the film as a figure of good.

Further compounding this bizarre logic is the fact that the film actually does feature front-and-centre an insane, thoroughly villainous and irredeemable figure in the form of Copley’s King Stefan. Whereas in the original animated classic he is a bumbling, comedic figure, here he is madness, greed and power-lust personified, and Copley leaves no furniture unchewed. So again, here we have a film titled Maleficent, purportedly attempting to add dimension and insight to the Sleeping Beauty narrative, but still nonetheless features a crazed, one-dimensional, hateful, nigh-daemonic figure of evil... only this time round it’s Aurora’s father. If anyone can find the logic therein, please feel free to let me know. By the time the finale rolls around, any semblance to the original tale, it’s plot and characters are completely tossed out the window, and, at the risk of spoilers, Maleficent becomes full-on action hero, at one point having Jolie’s costume, performance and behaviour almost more in-keeping with her Tomb Raider Lara Croft than anything old Uncle Walt’s masterpiece offered. The final set-piece in particular is so ridden with contemporary action cliche and nonsense that the one thing the movie can actually claim to have done well is further cement the brilliance of the original’s finale by dint of this one’s awfulness.

Technically the film is solid, although it adopts a stark palette of either moody gloom or oh-so-pretty explosion of fantasy and colour that doesn’t lend itself brilliantly to 3D. Bar one or two sequences of flight which offer moments of genuine excitement and spectacle, the film adopts a relatively sombre tone, and the majority of the time the moodier moments almost appear out of focus when viewed in 3D, and given that the film was not natively shot in the format, it is hardly worth recommending. The visual effect work is of a consistently high standard, and whilst the art direction once again detours from the original film quite jarringly (Maleficent lives amongst a menagerie of cartoony cohorts not a million miles from Lewis Carol), it is certainly a very visually arresting and pretty film to look at. Director Robert Stromberg’s visual effects background, then, is clearly front and centre, though his relative inexperience can be felt in a few instances of jarring cuts and forced edits.

In the end, Sleeping Beauty was a film of such magnificence and genius because it understood the power of archetypal narrative and tonal simplicity, and in crafting it’s now-iconic villain it took a very simple concept - pure evil - and writ it large. Some concepts and ideas simply do not need embellishment, the very idea of adding shade and nuance to a character who is adored for her singular evilness is in and of itself self-defeating, and this failure is utterly compounded when, as is the case of Maleficent, the approach taken is in fact to U-turn the character so drastically in the opposite direction that she is neither here nor there. Even if they absolutely had to go down this route of making the character an unlikely but ultimately good-natured hero, there should have been far more in the way of development and character motivation for the character in the middle portion of the film in particular. Instead, robbed of her majesty, her irrepressible belligerence and uncompromising darkness, one of Disney’s greatest, despite perfect casting and Jolie’s very best efforts, is diluted, confused and horribly misused in a film which leans on the good name and familiarity of Sleeping Beauty before morphing it into something altogether different and far, far less magical.

(A)MUSINGS RATING - * * (2 out of 5 Stars)

MUSINGS:

+ Jolie gives it her all and is perfectly cast

+ Visually stunning, terrific visual effects

+ Imelda Staunton elevates the bastardising of the three good fairies into something bearable

- The character is robbed of practically everything that made her great

- Terrible narrative decisions and alterations that end up bearing no resemblance to the Sleeping Beauty tale whatsoever

- A meandering, unfocused middle and horribly formulaic finale that completely wastes Jolie's talent and suitability for the role

- Very few fans of the original character are likely to find themselves won over by Maleficent being the hero

- The entire film is ultimately self-defeating and paradoxical

For more news, updates and exclusive content from (A)musings, be sure to 'like' our Facebook page and also follow us on Twitter!

Press access for this screening of Maleficent was provided by Walt Disney Motion Picture Studios UK. (A)musings Media gratefully acknowledges their generous invitation.

ONE MAN, TWO GUVNORS - THEATRE REVIEW

2014-05-27T17:10:00.001+01:00

ONE MAN, TWO GUVNORS AT THE BIRMINGHAM HIPPODROME

Theatre Run: Monday 26 - Saturday 31 May 2014
Performance Reviewed: Monday 26 May 2014 (Press Night)

Reviewed by Kyle Pedley

Prefacing a review with a retrospective hardly seems the most succinct of approaches, but in addressing One Man, Two Guvnors, it seems prudent to draw attention to a perspective I offered whilst discussing Michael Frayn’s seminal farce Noises Off last year:

‘It is a truth that often escapes audiences, yet is almost universally acknowledged by actors/directors and other theatre talent alike that comedy, and in particular comedy of the slapstick, physical and farcical variety, is one of the most difficult and disciplined of theatre forms to pull off convincingly and satisfyingly. Too broad and the lampooning leads to audience disconnect, too specific or regimented and it feels stilted, insincere and, well, staged. To marry the natural buoyancy and vim of comedy with the precision and practice of physical slapstick and farce in particular is so tricky a balancing act that rarely does it work as successfully in theatre as it would in other mediums such as film or television, which allow themselves the luxury and safety net of cutaways, close-ups and the edit to mask the joins.’

Plagiarising Lovingly referencing oneself aside, all of the above is perfectly applicable to unlikely National Theatre production One Man, Two Guvnors, which has embarked upon its latest UK tour and brings its raucous blend of distinctly British farce, slapstick and even a sprinkling of musical moments to the Birmingham Hippodrome this week. With a uniformly excellent cast who mine every ounce of hilarity from the razor-sharp writing, gloriously over-the-top characters and a slew of set pieces that make even the likes of Fawlty Towers seem positively pedestrian by comparison, One Man, Two Guvnors is minute-for-minute, laugh-for-laugh an undeniable stroke of contemporary comedic genius.

Endearing but muddled minder Francis Henshall (Gavin Spokes) has a problem. He is hungry, relatively broke and in the employ of local gangster Roscoe Crabbe who, unbeknownst to him, may or may not have recently been murdered. To enable him to reach his character goals (wittily self-referencing theatre storytelling convention) of being able to afford the modern miracle of pub food at his local, this being 1963 after all, he allows himself to become employed by haughty criminal Stanley Stubbers, currently on the run from London and possibly involved in the aforementioned gangster maybe-murder. Henshall finds himself haplessly embroiled in a wider series of complications which includes Roscoe’s fiance Pauline (Jasmyn Banks), her new thespian beau Alan (Edward Hancock), Roscoe’s twin sister Rachel (Alicia Davies), which the play has great fun labouring over their being non-identical, staunch feminist bookkeeper Dolly (Emma Barton) and a handful of additional supporting characters who, as per the nature of farce, all find themselves interlinked and involved with a suitably barnstorming and barmy comedy of errors, misdirection, mistaken identities and crossed wires, mostly courtesy of bumbling, easily confused Henshall. Throw in a handful of extended improvisational skits where members of the audience become hilariously involved (be prepared for heated and prolonged debates on whether or not they are stooges), and some measure of One Man, Two Guvnors insane, nigh-inimitable brilliance can be gauged.

For a farce, and an extremely funny one at that, One Man, Two Guvnors must be praised for the far more robust and knowing work it does with character and even self-parody, not falling prey to the major pitfall of leaning almost exclusively on the set piece and physical silliness to elicit laughs. From Dolly’s ironic musings and predictions of the compassion and gentility of Britain’s first female prime minister, luvvy Alan’s heightened theatricality at practically every moment and cadence, Stanley’s veritable treasure trove of upper class exclamations, outbursts and similes, (‘skin chimney’ being a personal, if somewhat cringe-inducing, delight), dim-witted Pauline failing to comprehend practically everything and so on, every character is colourfully defined and inherently funny in and of themselves, and whilst many may be broad caricatures or types merely written and performed incredibly well, the strength of character work allows for a far more even-handed balancing of comedy that, if anything, has less of the pie-in-the-face approach than one may first expect. It’s a show that can seamlessly one minute alliteratively duel with the phonetics of a man ‘dying from diabetes after being diagnosed with diarrhea in Dagenham’ to the next having a pensioner scramble around hyperactively charged by his pacemaker after being struck repeatedly in the face by doors and a cricket bat, spliced together with a handful of variety musical performances and set changes that, by dint of their conviction and the talent involved, somehow just completely works.

The key component to this success is mostly courtesy of the show's outstanding cast, and you’ll be hard pressed to find anything remotely resembling a weak link. A trifecta of former Eastenders talent in the form of Shaun Williamson, Jasmyn Banks and Emma Barton all do terrific character work, and whilst Williamson’s role is perhaps more slight than the show’s marketing would lead you to expect, he still gives great deadpan and put-upon. Banks is delightfully dippy as Pauline, her slew of outbursts, leaps of logic and ‘blonde’ moments being a great contrast to the characters around her (‘they’ve tried but they can’t make bricks thicker’, Williamson’s Charlie quips of her), and Barton too is brilliant throughout, keeping a Northern accent in check, dialing her Dolly up to eleven and generally being all long legs, laughs and lots of front. Edward Hancock is hilariously over-the-top both physically and verbally as amateur actor Alan, milking every entrance, exit and moment in-between with melodramatic relish, and Patrick Warner takes his pompous, lofty Stanley to similar excesses and gives one of the show’s funniest, standout turns, if such a plaudit is even fair given the exceptional level of performances across-the-board. Alicia Davies is a miniature whirlwind of energy and versatility, and Michael Dylan hobbles around stealing scenes and evoking laughs as the aforementioned unfortunate pensioner Alfie.

However, whilst One Man, Two Guvnors is not quite a one-man show, it certainly belongs to Gavin Spokes, who gives an absolute comedy tour-de-force as Francis Henshall, carrying the show with an assured mix of utter hilarity and confidence. Jostling around on-stage with seemingly inexhaustible exuberance, Spokes gives a masterful, naturalistic yet bombastic performance that crackles with nervous energy; each bead of sweat he frequently wipes away being a measure of a master artist hard at work and a well-earned medal of audience hysterics. Having not seen James Corden’s acclaimed performance in the same role, a comparison here is not possible, but anyone questioning seeing the show in Corden’s absence should put such paltry doubts aside, for Spokes gives a sensational performance that, coupled with the show’s inherent brilliance, is a thing of pure comedy genius.

A (loose) adaptation of Goldoni’s The Servant of Two Masters given a thoroughly British slant, One Man, Two Guvnor’s is theatrical comedy and silliness executed practically to perfection in every department and regard. The laughs are so varied and quickfire, and the vast majority so blisteringly on-point, that the result is that rare ilk of production that genuinely has ‘something for everyone’. British comedy has a long and proud heritage of iconic moments and titles, be they on-stage or on the screen, and it is no hyperbole to say that One Man, Two Guvnors comfortably deserves to be regarded amongst the comedy elites. It’s sheer joy and silliness is utterly infectious, and it is surely the highest possible praise when reviewing comedy to find yourself stifling giggles and laughter as you recount the shows many, many highlights.

The very definition of both feel-good and must-see, One Man, Two Guvnors, Three Eastenders’ and a supremely satisfied audience runs at the Birmingham Hippodrome until Saturday 31st May.

(A)MUSINGS RATING - * * * * * (5 out of 5 Stars)

MUSINGS

+ British comedy simply doesn't get much better than this

+ Gavin Spokes' extraordinary lead performance... James who?

+ Supporting cast are similarly brilliant

+ Musical transitions by The Craze and cast are surprisingly effective

+ Relentlessly funny... the laughs come thick and fast

+ The slapstick moments are notably convincing

+ Terrific audience involvement

- Some of the stooge work is exposed in the programme prior to the show even starting

ONE MAN, TWO GUVNORS is running at the Birmingham Hippodrome from Monday 26 to Saturday 31 May 2014.

CLICK HERE for more information on the show's run at the Hippodrome and to book your tickets!

Alternatively, call Ticket Sales directly on 0844 338 5000 now to book your tickets!

For more news, updates and exclusive content from (A)musings, be sure to 'like' our Facebook page and follow Kyle on Twitter!

Press tickets for this performance of One Man, Two Guvnors were provided courtesy of the Birmingham Hippodrome directly. (A)musings Media gratefully acknowledges their generous invitation.