"GREASE" by The NTU Drama Society.
Nottingham Arts Theatre.
It's always going to be difficult to emulate a well loved hit musical film on stage, but as the film originally started off as a stage production, it was a return to the original format, and you know what, even without the famous car race and the end scene at the fairground with the car that takes off into the hemisphere, this is still a great feel good production.
The Nottingham Trent University (NTU) Drama Society have done a sterling job with this production and they have an amazing set, which really hits you as soon as you walk into the theatre space. well designed as well because most of the set, bar a few props and Kenicke's car, are all actually all within the set on stage. A bit like a banana skin that you just keep peeling back to reveal more and more. A clever idea by the set designers, who unfortunately I couldn't see mentioned in the programme, but a brilliant job was done by all involved in the set.
We all know what to expect from "Grease" so I don't really need to tell the story of the musical. What I can tell you is that this talented group manage to encapsulate the whole feel of the era, 1959, and of the "belonging" to the separate gangs, The "T Birds", the leather jacketed "lads" gang and the "Pink Ladies", the all more refined collection of ladies who have sleep over parties and discuss the teen idols of the day and make up.
It's a large but tight cast with some good stand out principal performances as well as excellent support roles. Chris Turner, as Danny Zuko role played it for laughs with not so much arrogance, which is what John Travolta's film version could have done with. Chris's version depicted Zuko as a bit of a goofball with just a bit of arrogance, which I liked better, he made it more of a comical role. there may have been a few bum notes here and there but it certainly did not detract from a solid performance from Chris.
Sandy, the role made famous in the film by Olivia Newton-John, was played by Amy Mallaband. The innocent college girl turned ultimate temptress and what a voice she has; a lovely rendition of "Hopelessly Devoted To You".
The "cool guy" of the movie wasn't Zuko for me but Kenicke, the worldly player but I felt Jeff Conway in the film didn't quite corner the "cool" of the character, unlike Leon Dominique in this production. Leon played Kenicke as a true player, slightly aloof, a lovely character driven performance.
I always had a bit of a soft spot for Rizzo in the film and same here in this performance. Rizzo was never really the tough nut she tried to be and scratch that surface and there is this lovely soft and frightened side, a girl just wanting to be loved and both sides were shown in a lovely performance by Lucy Miller. Oh and what a spine tingling version of "There Are Worse Things I Could Do" by Lucy. What a voice!
The rest of the two gangs were equally as capable and a joy to watch, Sam Bailey (Roger), Joe Hayes (Sonny), Bertie Drew (Doody), Katie Barnard (Frenchy), Helen Smurthwaite (Marty), Bethany Milnes (Jan) and a nice cameo Teen Angel by Emma McGuinness, played in the film by Frankie Avalon but tonight a nice change to hear "Beauty School Dropout" sung so wonderfully by a female voice. Emma also shared choreography for this show with Grace Nelder. Cracking job done by these two.
Minor roles were played by Ellie Rice (Patty), Mary Squib (Miss Lynch), Kirk Evans ( Vince Fontaine), Annie Johnstone (Jenny), Laura Simpson (Cha Cha), Sarah Shields as the voice on the radio and who can forget Ruairi Blake who not only played the ultimate geek Eugene. Ruairi also shared co directing with Alice Grieves.
A brilliant band, again under co musical direction of Shirin Marashi and Matt Spurr. A clear, powerful sound beefed up by a brilliant drummer in Chris Smith, who really lets rip on "Born To Hand Jive".
C'mon what is not to like about this fun musical. We all knew the songs, most of the hits came in act 2. Songs like "You're The One That I Want", "Summer Nights", "Greased Lightning", "We Go Together", "Grease", they are all there with a few not as memorable songs from the original film.
Really chuffed to see the theatre almost full for this great musical and a wonderful set of multi talented people, and I don't think there are many tickets left for Saturday night, which is when the run ends.
Friday, 24 April 2015
Tuesday, 21 April 2015
"KING JOHN"
The Lace Market Theatre
Not the most well known of William Shakespeare's plays but a fascinating piece of theatre it is. I can take or leave Shakespeare when it is modernised but this was done really well, and a tick in the director box for Cynthia Marsh.
This production starts in Thatcher's reign, and it was uncanny how much Mandy Wilson looked like the Iron Lady. It then travels back to Elizabethan England and then to medieval times. Covering the reign of King John from him receiving the crown to his death with plenty of action, fighting and feuding in between.
It has plenty of comedy but also quite a bit of dark, sinister overtones with beheading, attempted blinding with hot pokers and suicide thrown into the mix. With this being a modern version of the script you will have no trouble following the text which in a way is good but it also takes a lot of the romance and poetry from Shakespeare's usual rhythm of words.
Paul Johnson stepped in at the very last minute to play King John but, even though he was reading the lines from a script, he still managed to "act" the script with feeling.
There were many stand out performances in this play, but as an entirety there were no weak links, so i will just mention a few of the actors that made this play a success for me. Loved the total commitment to the part of Queen Elinor by Janice White and Imogen Lea's passionate speech about Arthur, her son. Speaking of which, Arthur, the one under the wing of Hubert, was played wonderfully by Sophie Owen. I loved the innocence Sophie depicted in Arthur and the tragedy of his pleading not to have his eyes removed by Hubert and then throwing himself of off the battlements to his death.
Hubert was played by Neil Duckmanton and this is the best I have seen him act. Hubert, a follower of King John was portrayed like a little lap dog who would agree to whatever was asked but showing heart by not harming Arthur.
Shakespeare's works and script seem to bring out the true actor in an actor and I found this with Ciaran Stones. I have seen Ciaran in many productions over the years but his role as Phillip Falconbridge's "half brother", Robert Falconbridge really brought out a top class performance from Ciaran. Shakespeare, or at least this modern Shakespeare suits him down to the ground.
Two actors really held my attention though. They have such stage presence that you have to watch them when on stage and with this drama, they truly excelled and were magnetic. Rob Goll, who is a true Shakespeare buff, played King Phillip of France and knows how to project Shakespeare the way it should be done. He made it so easy to watch and understand the character.
And then there was Richard Hill who was just marvellously entertaining with that dry sense of humour he brought out of his character, Phillip Falconbridge. Another actor who really sits well with Shakespeare. Some would find some of Shakespeare's characters aloof and Falconbridge is definitely that and Richard knows just how to portray this aloofness with comedy, but when there are serious speeches to be made, you can tell by his face that he believes every word he says in character, very much like Rob Goll.
What also made this show exciting was the lighting and effects, designed by Hugh Phillip with a whole team of lighting engineers with the sound design by Peter Hodgkinson and Echo Zheng.
The set looked simple enough but looking closer you could see that quite a bit of hard work had gone into the design of the set which was the brainchild of Mark James who also created the backdrop projection.
If you've either never really been a Shakespeare fan then maybe this just might be the one to sway your opinion. many do not "get" the comedy in Shakespeare's work but believe me there is a lot of fun on his plays, especially in the hands of a good director and cast, and that is what you have here.
"King John" is at the Nottingham Lace Market Theatre until Saturday 25 April 2015
The Lace Market Theatre
Not the most well known of William Shakespeare's plays but a fascinating piece of theatre it is. I can take or leave Shakespeare when it is modernised but this was done really well, and a tick in the director box for Cynthia Marsh.
This production starts in Thatcher's reign, and it was uncanny how much Mandy Wilson looked like the Iron Lady. It then travels back to Elizabethan England and then to medieval times. Covering the reign of King John from him receiving the crown to his death with plenty of action, fighting and feuding in between.
It has plenty of comedy but also quite a bit of dark, sinister overtones with beheading, attempted blinding with hot pokers and suicide thrown into the mix. With this being a modern version of the script you will have no trouble following the text which in a way is good but it also takes a lot of the romance and poetry from Shakespeare's usual rhythm of words.
Paul Johnson stepped in at the very last minute to play King John but, even though he was reading the lines from a script, he still managed to "act" the script with feeling.
There were many stand out performances in this play, but as an entirety there were no weak links, so i will just mention a few of the actors that made this play a success for me. Loved the total commitment to the part of Queen Elinor by Janice White and Imogen Lea's passionate speech about Arthur, her son. Speaking of which, Arthur, the one under the wing of Hubert, was played wonderfully by Sophie Owen. I loved the innocence Sophie depicted in Arthur and the tragedy of his pleading not to have his eyes removed by Hubert and then throwing himself of off the battlements to his death.
Hubert was played by Neil Duckmanton and this is the best I have seen him act. Hubert, a follower of King John was portrayed like a little lap dog who would agree to whatever was asked but showing heart by not harming Arthur.
Shakespeare's works and script seem to bring out the true actor in an actor and I found this with Ciaran Stones. I have seen Ciaran in many productions over the years but his role as Phillip Falconbridge's "half brother", Robert Falconbridge really brought out a top class performance from Ciaran. Shakespeare, or at least this modern Shakespeare suits him down to the ground.
Two actors really held my attention though. They have such stage presence that you have to watch them when on stage and with this drama, they truly excelled and were magnetic. Rob Goll, who is a true Shakespeare buff, played King Phillip of France and knows how to project Shakespeare the way it should be done. He made it so easy to watch and understand the character.
And then there was Richard Hill who was just marvellously entertaining with that dry sense of humour he brought out of his character, Phillip Falconbridge. Another actor who really sits well with Shakespeare. Some would find some of Shakespeare's characters aloof and Falconbridge is definitely that and Richard knows just how to portray this aloofness with comedy, but when there are serious speeches to be made, you can tell by his face that he believes every word he says in character, very much like Rob Goll.
What also made this show exciting was the lighting and effects, designed by Hugh Phillip with a whole team of lighting engineers with the sound design by Peter Hodgkinson and Echo Zheng.
The set looked simple enough but looking closer you could see that quite a bit of hard work had gone into the design of the set which was the brainchild of Mark James who also created the backdrop projection.
If you've either never really been a Shakespeare fan then maybe this just might be the one to sway your opinion. many do not "get" the comedy in Shakespeare's work but believe me there is a lot of fun on his plays, especially in the hands of a good director and cast, and that is what you have here.
"King John" is at the Nottingham Lace Market Theatre until Saturday 25 April 2015
Monday, 20 April 2015
JEEVES & WOOSTER in "Perfect Nonsense"
Nottingham Theatre Royal
When a country house weekend takes a turn for the worse, Bertie Wooster is unwittingly called on to play matchmaker, but also to steal a silver cow creamer from Totleigh Towers. Naturally, the ever dependable Jeeves is there to prevent Bertie from making a fool of himself in front of a cast of Wodehouse’s finest characters.
Robert Webb as Bertie Wooster is a delight to behold, continually breaking that fourth wall by toying with the audience from start to end and always with a mischievous glint in his eye.
Jason Thorpe as the ever dependable Jeeves, as well as several variable characters, forever comes to Bertie's rescue, Whether it is getting him out of harm's way or finding just the right word that is forever on the end of Bertie's tongue. Plenty of quick changes costume wise, and an absolute classic dual male/female role, reminiscent of the classic comedy style we used to see on Saturday night variety shows or vaudevillian music hall..
Christopher Ryan is bottom billing but, in my eyes, should have had joint headline status with Jason and Robert, because he also played a myriad of characters including Aunt Dahlia and the wonderful seven foot, eight foot tall Spode. You really have to see how Chris achieves this as he is the smallest member of the trio.
There's lots of running around, quick costume changes (and some not so quick), various appearances of actors from different parts of the revolving set, and a lovely novel comedy way of revolving the sets is on hand as well. There is a lovely timed piece of slow motion comedy done in the the of the old black and white "strobed" movies, all revolving around the cow creamer.
Wonderfully and whimsically written by Pelham Grenville (P.G.) Wodehouse, this is gentle comedy that all the family can enjoy, bordering on mild slapstick, or posh panto. in places.
Technically, it is a very clever play, and the timing for the sound effects is perfect. Ben and Max Ringham are the music and sound designers. the lighting of this play is also cleverly thought out with the design for this done by James Farncombe.
I loved the simple but elegant style of clothes from the 1930's, which is the era for this play, and there are some lovely fashion accessories for the smartly dressed aristocrat such as Bertie, as are both man servant roles, adding to the ambience of the play. Costume designer and the wonderful set design is by Alice Power.
"Jeeves and Wooster" is an ideal vehicle for all three actors and is an innocent and playful slice of comedy for anyone who likes an inoffensive titter or two. While seemingly simple though, it is a very clever piece of theatre, which must be down to Sean Foley as the director.
"J & W" is on at the Nottingham Theatre Royal until Saturday 25 April 2015
Nottingham Theatre Royal
When a country house weekend takes a turn for the worse, Bertie Wooster is unwittingly called on to play matchmaker, but also to steal a silver cow creamer from Totleigh Towers. Naturally, the ever dependable Jeeves is there to prevent Bertie from making a fool of himself in front of a cast of Wodehouse’s finest characters.
Robert Webb as Bertie Wooster is a delight to behold, continually breaking that fourth wall by toying with the audience from start to end and always with a mischievous glint in his eye.
Jason Thorpe as the ever dependable Jeeves, as well as several variable characters, forever comes to Bertie's rescue, Whether it is getting him out of harm's way or finding just the right word that is forever on the end of Bertie's tongue. Plenty of quick changes costume wise, and an absolute classic dual male/female role, reminiscent of the classic comedy style we used to see on Saturday night variety shows or vaudevillian music hall..
Christopher Ryan is bottom billing but, in my eyes, should have had joint headline status with Jason and Robert, because he also played a myriad of characters including Aunt Dahlia and the wonderful seven foot, eight foot tall Spode. You really have to see how Chris achieves this as he is the smallest member of the trio.
There's lots of running around, quick costume changes (and some not so quick), various appearances of actors from different parts of the revolving set, and a lovely novel comedy way of revolving the sets is on hand as well. There is a lovely timed piece of slow motion comedy done in the the of the old black and white "strobed" movies, all revolving around the cow creamer.
Wonderfully and whimsically written by Pelham Grenville (P.G.) Wodehouse, this is gentle comedy that all the family can enjoy, bordering on mild slapstick, or posh panto. in places.
Technically, it is a very clever play, and the timing for the sound effects is perfect. Ben and Max Ringham are the music and sound designers. the lighting of this play is also cleverly thought out with the design for this done by James Farncombe.
I loved the simple but elegant style of clothes from the 1930's, which is the era for this play, and there are some lovely fashion accessories for the smartly dressed aristocrat such as Bertie, as are both man servant roles, adding to the ambience of the play. Costume designer and the wonderful set design is by Alice Power.
"Jeeves and Wooster" is an ideal vehicle for all three actors and is an innocent and playful slice of comedy for anyone who likes an inoffensive titter or two. While seemingly simple though, it is a very clever piece of theatre, which must be down to Sean Foley as the director.
"J & W" is on at the Nottingham Theatre Royal until Saturday 25 April 2015
Saturday, 18 April 2015
OKLAHOMA by Long Eaton Operatic Society (LEOS)
May Hall, Trent College.
I nearly missed out on this one but so glad that I didn't as it ends today, Saturday.The last production I saw by LEOS was "Jesus Christ Superstar" last September, which was a cracking show, as is "Oklahoma".
You could class this as a period drama as it is set in 1906, and every period drama has to have the era appropriate costumes, all of which were sourced by the group themselves, that in itself is no mean feat as this cast is a large one, 37 in all.
Curly is in love with Laurey and wants to take her to the local dance but just to spite Curly, she accepts an invite from Jud, the hired hand who is a bit of a dark loner. After selling all of his worldly goods, Curly proves his love and beats Jud at the auction to buy Laurey's "basket". Jud is not happy with this and after a tussle with Curly, Jud dies by his own knife.
Oklahoma has plenty of light moments and some great dance routines, sprightly choreographed by Laurie Trott, Again with such a large ensemble, maybe not the easiest of tasks.
A great ensemble which really raised the roof with the mighty title song and songs such as "The Farmer and the Cowman", and they really filled the stage with the lively dance numbers. The tuneful orchestra was directed by Lizzie Bullard, creating a well balanced sound which was easy on the ear.
I had forgotten the dark "dream section"of this musical, showing the darker side of Jud, which gave the lighting by Tom Olding its shining moment, if you will pardon the pun. This section being a complete contrast to the rest of the musical.
Confident and energetic performances from all involved but with plenty of stand out roles. Curly, played by Dave O Neal is ideal leading man material and has a strong singing voice and keeps the accent all the way through.
Carefree, headstrong and teaser Laurey is played by Anna McAuley, and this is, quite surprisingly, her first leading role with LEOS. Again, another strong vocal performance in a lead role.
Jack Draper, as Will Parker and Rachelle Bragg as his flirty girlfriend, who just cain't say no are a lovely and believable pairing, who actually look like they are a pair on stage, and provide some of the comedy. Georgia Archer was delightful and fun as Gertie Cummings with the infectious giggle.
Also adding plenty of comedy to the proceedings was Kheenan Jones as the sweet talking "peddler" Ali Hakim. Comedy seems to suit Kheenan as he has also played the part of Edna Turnblad in "Hairspray" at school.
I am sure that Ben Woolley, who played Jud Fry, had an absolute ball with this dark, bullying, unsettled and slightly sinister role. Definitely a role to get his teeth into and definitely one of the more interesting characters in the musical.
And who can leave out Kathryn McAuley as Aunt Eller, the woman who tries to steer Laurey down the right path to love and doesn't take any nonsense from the men, especially with that gun in her hand!. Again, this is another first principal role for Kathryn with LEOS.
Overall another success for LEOS, and if May Hall was as packed as this afternoon all through the week, a popular society as well as a much loved musical.
May Hall, Trent College.
I nearly missed out on this one but so glad that I didn't as it ends today, Saturday.The last production I saw by LEOS was "Jesus Christ Superstar" last September, which was a cracking show, as is "Oklahoma".
You could class this as a period drama as it is set in 1906, and every period drama has to have the era appropriate costumes, all of which were sourced by the group themselves, that in itself is no mean feat as this cast is a large one, 37 in all.
Curly is in love with Laurey and wants to take her to the local dance but just to spite Curly, she accepts an invite from Jud, the hired hand who is a bit of a dark loner. After selling all of his worldly goods, Curly proves his love and beats Jud at the auction to buy Laurey's "basket". Jud is not happy with this and after a tussle with Curly, Jud dies by his own knife.
Oklahoma has plenty of light moments and some great dance routines, sprightly choreographed by Laurie Trott, Again with such a large ensemble, maybe not the easiest of tasks.
A great ensemble which really raised the roof with the mighty title song and songs such as "The Farmer and the Cowman", and they really filled the stage with the lively dance numbers. The tuneful orchestra was directed by Lizzie Bullard, creating a well balanced sound which was easy on the ear.
I had forgotten the dark "dream section"of this musical, showing the darker side of Jud, which gave the lighting by Tom Olding its shining moment, if you will pardon the pun. This section being a complete contrast to the rest of the musical.
Confident and energetic performances from all involved but with plenty of stand out roles. Curly, played by Dave O Neal is ideal leading man material and has a strong singing voice and keeps the accent all the way through.
Carefree, headstrong and teaser Laurey is played by Anna McAuley, and this is, quite surprisingly, her first leading role with LEOS. Again, another strong vocal performance in a lead role.
Jack Draper, as Will Parker and Rachelle Bragg as his flirty girlfriend, who just cain't say no are a lovely and believable pairing, who actually look like they are a pair on stage, and provide some of the comedy. Georgia Archer was delightful and fun as Gertie Cummings with the infectious giggle.
Also adding plenty of comedy to the proceedings was Kheenan Jones as the sweet talking "peddler" Ali Hakim. Comedy seems to suit Kheenan as he has also played the part of Edna Turnblad in "Hairspray" at school.
I am sure that Ben Woolley, who played Jud Fry, had an absolute ball with this dark, bullying, unsettled and slightly sinister role. Definitely a role to get his teeth into and definitely one of the more interesting characters in the musical.
And who can leave out Kathryn McAuley as Aunt Eller, the woman who tries to steer Laurey down the right path to love and doesn't take any nonsense from the men, especially with that gun in her hand!. Again, this is another first principal role for Kathryn with LEOS.
Overall another success for LEOS, and if May Hall was as packed as this afternoon all through the week, a popular society as well as a much loved musical.
Tuesday, 14 April 2015
HAIRSPRAY by The ESNA Players
Loughborough Town Hall.
I set myself high expectations from The Esna Players as "Hairspray" is fast turning into one of my favourite modern musicals. Not only did they match my expectations, they exceeded them. I LOVED this show! It was fast, funny, colourful, shiny, sleek, garish and as good as any professional production I've seen. The actors not only got under the skin of the characters, they were the characters for the length of time they were on stage. There were just a couple of sound issues in the first half which are not worth mentioning, so I won't, especially as they were quickly resolved in the second act.
It's 1962 Baltimore, Maryland, plump teenager Tracy Turnblad's dream is to dance on The Corny Collins Show, a local TV dance show which features TV heart throb Link Larkin, who falls for Tracy. When Tracy wins a role on the show, she becomes a celebrity overnight, and meets a colourful array of characters. She then launches a campaign to integrate the show.
The musical, while being a fun pastiche of 1960's America and the teen culture of the day, also throws up the serious message of segregation and racism which is broken down, thanks to Tracy and her new friends. It gives a positive message of breaking down the barriers against being different, whether it be the colour of the skin or the shape that skin is in.
Let's get to my favourite bit, heaping praise on the Esna Players who worked their socks off with this show,
Emily Canham (Tracy Turnblad), was a dream to watch as our hero and what a strong voice she has, oozing fun and wringing out every bit of energy from Tracy, all with a gorgeous smile on her face.
Robert Bramley-Buhler filled the shoes previously trod by stalwarts of the theatre world such as Brian Conley, Michael Ball, Michael Starke and John Travolta as the cuddly Edna. A woman who ain't gonna stand by and be walked over. Robert played the role just as it should be played, not as a panto dame or as a drag act but as a woman portrayed by a man. Forceful but with some lovely emotional touches and great humour. Just perfect!
Liam Patrick may not class himself as a heart throb, but he received a few wolf whistles and appreciative comments from the audience as Link Larkin, the Corny Collins show teen idol. Liam played the part with just the right amount of narcissistic arrogance and swagger, and his eyebrows were on overtime when in a raised position with just a touch of Elvis's curled lip. Spot on once again.
Neil Ledward (Wilbur Turnblad) proved to be a perfect foil for Edna and, again lived up to my expectations in the duet that Wilbur and Edna perform, "Timeless To Me", which is just one of my favourite comic musical songs. Great lyrics delivered with perfect timing. Squint your eyes and it could be a younger Russ Abbot on that stage.
The Von Tussel mother and daughter pairing of Nicola Scoggins and Nicole Ray drew just the right amount of nastiness to the role with their dislike of "coloureds" and fuller figures, but also allowed us to laugh at them as well as with them.
Rowan Beaumont provided a wonderful gawkiness and nerdiness to Tracy's best friend, Penny Pingleton, another wonderful female comedy role.
There were also a few ladies in the audience who would have stepped into the role of Penny if that meant being in the arms of tall, dark and handsome Aadyl Muller who played Seaweed J Stubbs, son of Motormouth Maybelle, the lady DJ with all the soul, Aadyl has a warm chocolatey soulful voice which is great to hear in this production.
Talking, as I was of Motormouth Maybelle, I could not envisage anyone to pull off this role other than the gorgeous Monique Henry. I knew she has an amazing voice having seen her as Dolores in "Sister Act" and seen her sing as herself, but WOW, when she wrapped her velvet tonsils round the gospel tinged soul belter "I Know Where I've Been", every hair on my body stood up to listen. She looked fantastic and her voice matched her look.
Another actor with a powerful and clear set of vocals is Chris Wilson who played Corny Collins, the archetypal 60's TV host, always smiling, flashing those perfect pearly whites. Chris was a joy to watch perform as Corny and even the slightly risque comments he seemed to make sounded unoffensive. Who else can deliver a line using the term "stiff one" but Corny, and smile through it?
The whole cast, and it is a big one (oops sorry Corny), are wonderful. Brilliant choreography by Carl Brierlry-Edwards, wonderfully directed by Cat Orton, who must have not had an easy job with the size of the cast and the pace of the musical. Great tight sound from the band under the musical direction from Jon Orton. Lighting is all important in this colourful fun show and is in the hands of the very proficient Tom Mowat. I must also mention the stage hands as well who did a sterling job of getting the large scenery items and props on and off stage. Only you will know how difficult that really is.
This is one hell of a brilliant feel good show which will have you dancing out into the streets with an enormous grin on your face and some wonderful songs churning around your brain, Songs such as "Timeless","Good Morning Baltimore","Welcome To the 60's", "Big Blonde & Beautiful" and of course "You Can't Stop the Beat".
Friday and Saturday is already sold out but if you are very lucky you may still be able to get tickets for Wednesday to Friday. This is one show you do not want to miss to get your feel good fix this week. An amazingly talented cast who I know have worked extremely hard to put this show on and boy does it show. My introduction to The Esna Players but I know that it will not be my last....and that is a promise!
"Hairspray" is on at Loughborough Town Hall until Saturday 18 April 2015
Loughborough Town Hall.
I set myself high expectations from The Esna Players as "Hairspray" is fast turning into one of my favourite modern musicals. Not only did they match my expectations, they exceeded them. I LOVED this show! It was fast, funny, colourful, shiny, sleek, garish and as good as any professional production I've seen. The actors not only got under the skin of the characters, they were the characters for the length of time they were on stage. There were just a couple of sound issues in the first half which are not worth mentioning, so I won't, especially as they were quickly resolved in the second act.
It's 1962 Baltimore, Maryland, plump teenager Tracy Turnblad's dream is to dance on The Corny Collins Show, a local TV dance show which features TV heart throb Link Larkin, who falls for Tracy. When Tracy wins a role on the show, she becomes a celebrity overnight, and meets a colourful array of characters. She then launches a campaign to integrate the show.
The musical, while being a fun pastiche of 1960's America and the teen culture of the day, also throws up the serious message of segregation and racism which is broken down, thanks to Tracy and her new friends. It gives a positive message of breaking down the barriers against being different, whether it be the colour of the skin or the shape that skin is in.
Let's get to my favourite bit, heaping praise on the Esna Players who worked their socks off with this show,
Emily Canham (Tracy Turnblad), was a dream to watch as our hero and what a strong voice she has, oozing fun and wringing out every bit of energy from Tracy, all with a gorgeous smile on her face.
Robert Bramley-Buhler filled the shoes previously trod by stalwarts of the theatre world such as Brian Conley, Michael Ball, Michael Starke and John Travolta as the cuddly Edna. A woman who ain't gonna stand by and be walked over. Robert played the role just as it should be played, not as a panto dame or as a drag act but as a woman portrayed by a man. Forceful but with some lovely emotional touches and great humour. Just perfect!
Liam Patrick may not class himself as a heart throb, but he received a few wolf whistles and appreciative comments from the audience as Link Larkin, the Corny Collins show teen idol. Liam played the part with just the right amount of narcissistic arrogance and swagger, and his eyebrows were on overtime when in a raised position with just a touch of Elvis's curled lip. Spot on once again.
Neil Ledward (Wilbur Turnblad) proved to be a perfect foil for Edna and, again lived up to my expectations in the duet that Wilbur and Edna perform, "Timeless To Me", which is just one of my favourite comic musical songs. Great lyrics delivered with perfect timing. Squint your eyes and it could be a younger Russ Abbot on that stage.
The Von Tussel mother and daughter pairing of Nicola Scoggins and Nicole Ray drew just the right amount of nastiness to the role with their dislike of "coloureds" and fuller figures, but also allowed us to laugh at them as well as with them.
Rowan Beaumont provided a wonderful gawkiness and nerdiness to Tracy's best friend, Penny Pingleton, another wonderful female comedy role.
There were also a few ladies in the audience who would have stepped into the role of Penny if that meant being in the arms of tall, dark and handsome Aadyl Muller who played Seaweed J Stubbs, son of Motormouth Maybelle, the lady DJ with all the soul, Aadyl has a warm chocolatey soulful voice which is great to hear in this production.
Talking, as I was of Motormouth Maybelle, I could not envisage anyone to pull off this role other than the gorgeous Monique Henry. I knew she has an amazing voice having seen her as Dolores in "Sister Act" and seen her sing as herself, but WOW, when she wrapped her velvet tonsils round the gospel tinged soul belter "I Know Where I've Been", every hair on my body stood up to listen. She looked fantastic and her voice matched her look.
Another actor with a powerful and clear set of vocals is Chris Wilson who played Corny Collins, the archetypal 60's TV host, always smiling, flashing those perfect pearly whites. Chris was a joy to watch perform as Corny and even the slightly risque comments he seemed to make sounded unoffensive. Who else can deliver a line using the term "stiff one" but Corny, and smile through it?
The whole cast, and it is a big one (oops sorry Corny), are wonderful. Brilliant choreography by Carl Brierlry-Edwards, wonderfully directed by Cat Orton, who must have not had an easy job with the size of the cast and the pace of the musical. Great tight sound from the band under the musical direction from Jon Orton. Lighting is all important in this colourful fun show and is in the hands of the very proficient Tom Mowat. I must also mention the stage hands as well who did a sterling job of getting the large scenery items and props on and off stage. Only you will know how difficult that really is.
This is one hell of a brilliant feel good show which will have you dancing out into the streets with an enormous grin on your face and some wonderful songs churning around your brain, Songs such as "Timeless","Good Morning Baltimore","Welcome To the 60's", "Big Blonde & Beautiful" and of course "You Can't Stop the Beat".
Friday and Saturday is already sold out but if you are very lucky you may still be able to get tickets for Wednesday to Friday. This is one show you do not want to miss to get your feel good fix this week. An amazingly talented cast who I know have worked extremely hard to put this show on and boy does it show. My introduction to The Esna Players but I know that it will not be my last....and that is a promise!
"Hairspray" is on at Loughborough Town Hall until Saturday 18 April 2015
Monday, 13 April 2015
DEAD SIMPLE by Peter James.
Nottingham Theatre Royal.
Here is one murder mystery/thriller that includes more twists and turns than a Big Dipper with one moment in the play that received a collective gasp which started the twists in motion.Adapted from Peter James' best selling novel by Shaun McKenna and wonderfully directed with Hitchcockian flair by Ian Talbot.
"Dead Simple" is the story of a stag night prank which goes tragically wrong after the stags placing the intended groom, Michael Harrison in a coffin and burying him, just for a laugh you understand, while they head off to a lap dancing club for an hour or two. Unfortunately for them, and Michael, the van they were driving is involved in a head on collision and they are all killed, leaving Michael with just the walkie talkie they gave him to contact them with, and no way of escape.
There is a ray of hope for Michael after a couple of days when the walkie talkie from the crashed van is answered by one Davy Wheeler. Infatuated by American police shows but having learning difficulties, Davy does not quite grasp the urgency of the situation, and afraid to tell his dad because he wasn't supposed to remove items from crash scenes, Michael's life hangs in the balance.
A brilliant cast which created a suffocating air of tension. Tina Hobley, looking gorgeous with those long legs which she puts to good use in a scene almost from a Sharon Stone film, is believable as the distraught bride to be, Ashley. Jamie Lomas is Michael Harrison, the multi millionaire property developer. They made a lovely couple, if only they could have made it to the altar!
Rik Makarem plays Michael's childhood friend, business partner and best man, Mark Warren, who had to miss out on the stag night, and all the shenanigans, after being called away on business in Leeds.
Michael Mckell is Ashleigh's Canadian uncle, over for the wedding, who decides to go back to Canada after discovering something may not be all it seems with his niece.
Marc Small (Detective Sergeant Branson) and Gray O Brien are the investigators on the case, Gray playing James' hero, Detective Superintendant Roy Grace, who get to the bottom of this twist laden thriller.
Josh Brown makes his professional theatre debut as Davey Wheeler. You would not have guessed that this was his debut because he is a very natural actor in a role that could have been played a little over the top, but wasn't and ended as a sympathetic portrayal of a young man with learning difficulties.
There's not one, or two but three relationships in this play that end up not being as straight forward as we would first think and they are not that obvious, which is why this play is as tense ridden as it is. Someone had a lot to gain from Michael being dead, but who?
You actually get the suffocating feeling of being in the coffin, and Peter James himself had himself incarcerated for a short while so that he could experience what it felt like. That is what you call drawing on experience for character driven writing.
What can I say about the set designed by Michael Taylor? Separated into three sections, Ashley and Michael's apartment flat, Davey Wheeler's bedroom, which also doubled up into a couple of other minor settings, and a wonderful night time woodland setting, complete with car, where Michael was "buried". This section was raised above the stage so that you could then see the buried coffin in the ground and feel the claustrophobic atmosphere.
I love the little technical touches of this play which really made everything so real. Just little things like the mobile phones actually lighting up when they were ringing, This showed that a lot of effort had gone into the small things which can sometimes be forgotten. And what really bugs me is when someone is shot or stabbed and there is no blood, or it looks fake, well don't worry because there is blood which looks like the real thing and gore as well here.
If you like murder mysteries with plenty of twists, surprises and shocks, then you are going to love this very clever play. As good as anything Durbridge or Christie has done, but be prepared for one bit which will have you jump out of your skin.
Oh, and if you were wondering why the strange choice of title, then you'll have to wait for the very end, when it is revealed where the title came from.
"Dead Simple" is on at the Nottingham Theatre Royal until Saturday 18 April 2015.
Nottingham Theatre Royal.
Here is one murder mystery/thriller that includes more twists and turns than a Big Dipper with one moment in the play that received a collective gasp which started the twists in motion.Adapted from Peter James' best selling novel by Shaun McKenna and wonderfully directed with Hitchcockian flair by Ian Talbot.
"Dead Simple" is the story of a stag night prank which goes tragically wrong after the stags placing the intended groom, Michael Harrison in a coffin and burying him, just for a laugh you understand, while they head off to a lap dancing club for an hour or two. Unfortunately for them, and Michael, the van they were driving is involved in a head on collision and they are all killed, leaving Michael with just the walkie talkie they gave him to contact them with, and no way of escape.
There is a ray of hope for Michael after a couple of days when the walkie talkie from the crashed van is answered by one Davy Wheeler. Infatuated by American police shows but having learning difficulties, Davy does not quite grasp the urgency of the situation, and afraid to tell his dad because he wasn't supposed to remove items from crash scenes, Michael's life hangs in the balance.
A brilliant cast which created a suffocating air of tension. Tina Hobley, looking gorgeous with those long legs which she puts to good use in a scene almost from a Sharon Stone film, is believable as the distraught bride to be, Ashley. Jamie Lomas is Michael Harrison, the multi millionaire property developer. They made a lovely couple, if only they could have made it to the altar!
Rik Makarem plays Michael's childhood friend, business partner and best man, Mark Warren, who had to miss out on the stag night, and all the shenanigans, after being called away on business in Leeds.
Michael Mckell is Ashleigh's Canadian uncle, over for the wedding, who decides to go back to Canada after discovering something may not be all it seems with his niece.
Marc Small (Detective Sergeant Branson) and Gray O Brien are the investigators on the case, Gray playing James' hero, Detective Superintendant Roy Grace, who get to the bottom of this twist laden thriller.
Josh Brown makes his professional theatre debut as Davey Wheeler. You would not have guessed that this was his debut because he is a very natural actor in a role that could have been played a little over the top, but wasn't and ended as a sympathetic portrayal of a young man with learning difficulties.
There's not one, or two but three relationships in this play that end up not being as straight forward as we would first think and they are not that obvious, which is why this play is as tense ridden as it is. Someone had a lot to gain from Michael being dead, but who?
You actually get the suffocating feeling of being in the coffin, and Peter James himself had himself incarcerated for a short while so that he could experience what it felt like. That is what you call drawing on experience for character driven writing.
What can I say about the set designed by Michael Taylor? Separated into three sections, Ashley and Michael's apartment flat, Davey Wheeler's bedroom, which also doubled up into a couple of other minor settings, and a wonderful night time woodland setting, complete with car, where Michael was "buried". This section was raised above the stage so that you could then see the buried coffin in the ground and feel the claustrophobic atmosphere.
I love the little technical touches of this play which really made everything so real. Just little things like the mobile phones actually lighting up when they were ringing, This showed that a lot of effort had gone into the small things which can sometimes be forgotten. And what really bugs me is when someone is shot or stabbed and there is no blood, or it looks fake, well don't worry because there is blood which looks like the real thing and gore as well here.
If you like murder mysteries with plenty of twists, surprises and shocks, then you are going to love this very clever play. As good as anything Durbridge or Christie has done, but be prepared for one bit which will have you jump out of your skin.
Oh, and if you were wondering why the strange choice of title, then you'll have to wait for the very end, when it is revealed where the title came from.
"Dead Simple" is on at the Nottingham Theatre Royal until Saturday 18 April 2015.
Wednesday, 1 April 2015
THE MIST IN THE MIRROR by Oldham Coliseum Theatre.
Nottingham Playhouse
Susan Hill's follow up book to "The Woman In Black" is set in the same gothic era and while it's not as scary as the theatrical version of "Woman In Black" there are several "jumpy" moments to be had. Creating the same tension and atmosphere in the theatre is not as easy as in a film, but when you have the air of anticipation of something live just yards away from you provides a certain feel that watching a film doesn't hold.
Sir James Monmouth has travelled all his life. After the death of his parents, he was raised by his guardian. Later, he began to travel and arrives in England. He sees a young, pale ghostlike boy upon his arrival at the Cross Keys Inn. Strangely, he happens to see this ghost more often in the following months that he is in England. His goal is to gain as much information as possible about the great traveller, Conrad Vane.Even after being discouraged and warned of his pursuit of Vane, Momnouth refused to listen which ultimately led to his downfall.
It's the kind of story you'd read on a dark, snowy, wintry night with just the light of a roaring, crackling fire to bring to life the words on the page. You know what I mean.
While the story is of gothic Edwardianism, the technology that lifts the words from the page to dance in front of your eyes is completely 21st century. The projected images of the various locations, rooms and weather images transport you to places outside the realms of the theatre stage and carries you on a journey just steps behind Monmouth. Great dramaturgy created by Andrew Quick, and for those who didn't know what this theatrical term meant, and had to consult a dictionary, the definition is " Dramaturgy is the art of dramatic composition and the representation of the main elements of drama on the stage."
What really creates the atmosphere here and the "jumpy" moments is the combination of the sound design (Lorna Munden) and the lighting design (Andrew Crofts). Hand in hand these two brought a certain eeriness to the theatre; a visual and aural delight for horror and suspense fans.
Director Barney George has ensured that the snappiness and impact are kept very tight and just a second lapse would have detracted from the "surprise/shock" element of the appearances of the white faced spectral boy who stalked Monmouth to his death. The surprise element also worked well on the closing scene, which I will not reveal!
The play is along the same lines as "Woman In Black" with just a small cast, this time just five actors who all would not seem out of place in a Basil Rathbone or Jeremy Brett drama, wonderfully authentic period acting.
"The Mist In The Mirror" is one for fans of gothic mystery but don't expect it to better, or rival "Woman In Black" because it won't but you will enjoy the uneasiness of the story and you can marvel at the wonder of what can be produced in modern theatre technically.It's definitely worth a watch but not from behind your fingers this time round.
This spooky tale can be seen at the Nottingham Playhouse until Saturday 4 April 2015
Nottingham Playhouse
Susan Hill's follow up book to "The Woman In Black" is set in the same gothic era and while it's not as scary as the theatrical version of "Woman In Black" there are several "jumpy" moments to be had. Creating the same tension and atmosphere in the theatre is not as easy as in a film, but when you have the air of anticipation of something live just yards away from you provides a certain feel that watching a film doesn't hold.
Sir James Monmouth has travelled all his life. After the death of his parents, he was raised by his guardian. Later, he began to travel and arrives in England. He sees a young, pale ghostlike boy upon his arrival at the Cross Keys Inn. Strangely, he happens to see this ghost more often in the following months that he is in England. His goal is to gain as much information as possible about the great traveller, Conrad Vane.Even after being discouraged and warned of his pursuit of Vane, Momnouth refused to listen which ultimately led to his downfall.
It's the kind of story you'd read on a dark, snowy, wintry night with just the light of a roaring, crackling fire to bring to life the words on the page. You know what I mean.
While the story is of gothic Edwardianism, the technology that lifts the words from the page to dance in front of your eyes is completely 21st century. The projected images of the various locations, rooms and weather images transport you to places outside the realms of the theatre stage and carries you on a journey just steps behind Monmouth. Great dramaturgy created by Andrew Quick, and for those who didn't know what this theatrical term meant, and had to consult a dictionary, the definition is " Dramaturgy is the art of dramatic composition and the representation of the main elements of drama on the stage."
What really creates the atmosphere here and the "jumpy" moments is the combination of the sound design (Lorna Munden) and the lighting design (Andrew Crofts). Hand in hand these two brought a certain eeriness to the theatre; a visual and aural delight for horror and suspense fans.
Director Barney George has ensured that the snappiness and impact are kept very tight and just a second lapse would have detracted from the "surprise/shock" element of the appearances of the white faced spectral boy who stalked Monmouth to his death. The surprise element also worked well on the closing scene, which I will not reveal!
The play is along the same lines as "Woman In Black" with just a small cast, this time just five actors who all would not seem out of place in a Basil Rathbone or Jeremy Brett drama, wonderfully authentic period acting.
"The Mist In The Mirror" is one for fans of gothic mystery but don't expect it to better, or rival "Woman In Black" because it won't but you will enjoy the uneasiness of the story and you can marvel at the wonder of what can be produced in modern theatre technically.It's definitely worth a watch but not from behind your fingers this time round.
This spooky tale can be seen at the Nottingham Playhouse until Saturday 4 April 2015
Subscribe to:
Comments (Atom)