Review - Cinderella (Birmingham Hippodrome)

Ah, 'tis the season for families to gather at their local theatre and take part in one of Britain's most iconic festive traditions - a pantomime.

This year, Birmingham Hippodrome has really gone all out with its production of family favourite Cinderella. Produced by Olivier-nominated pantomime producer Qdos Entertainment and directed by Michael Harrison, who is also directing the famous London Palladium pantomime this year, Cinderella boasts an all star cast. Pop and television star Suzanne Shaw takes on the title role, and Birmingham panto favourite Matt Slack plays Buttons, Cinders' best friend and the narrator of the piece. It's Slack's fifth year appearing in Birmingham Hippodrome's panto, and his appreciation for the city is evident in his good hearted ribbing.

The rest of the star studded cast is equally impressive. Amongst them, Wolverhampton born superstar Beverley Knight shines from the moment she opens the show, displaying her core shakingly powerful vocals as she flies above the audience as the glam fairy godmother. Starring alongside Knight, Hollyoaks actor and 2016 Strictly Come Dancing finalist Danny Mac pleases the crowd with some slick moves straight from the Strictly dance floor. This panto definitely plays to the strengths of its cast, with characters breaking the fourth wall to fawn over their talented co-stars (Matt Slack's Buttons seems particularly starstruck by Beverley Knight at one point) and it's great fun seeing so many talented individuals gracing the Hippodrome Stage and seemingly having such a great time doing so.

There's plenty of fun content to pad out the all too familiar tale of Cinderella, the scullery maid plagued by her two evil stepsisters, who transforms into a princess and attends the local prince's ball with a little help from her fairy godmother. There are more subplots than you could shake a magic wand at, and loads of hilarious skits such as a magical karaoke session which sees Beverley Knight and James Brandon of The Grumbleweeds switching voices during a rendition of Joe Cocker's Up Where We Belong. 

Loads of brilliant parody songs also feature, and provide lots of entertainment. One particular standout number is Gonna Be A Prince Like You, a parody of Ed Sheeran's Shape Of You which takes place when the Prince persuades his servant Dandini to pretend to be him so he can walk around his kingdom without being recognised. There are also the usual pop culture references typical of pantos, and plenty of references to Birmingham and the surrounding area to keep the audience happy. 

This year's Cinderella seems bigger and better than all of its panto predecessors and should definitely not be left out of any family's festive celebrations. For anyone aged 5 to 105, Birmingham Hippodrome's spectacular pantomime will undoubtedly be a truly magical experience.

Review - Sunset Boulevard (UK tour)

Followers of theatre news are likely to remember April last year when during a run of Sunset Boulevard at the ENO, actress Glenn Close fell ill and understudy Ria Jones took on the leading role of Norma Desmond, winning over audiences and receiving raves for her performance. The musical, with book and lyrics by Don Black and Christopher Hampton and music by Andrew Lloyd Webber, has been a firm favourite with musical theatre fans for years, and the juicy leading role is one which any actress would surely love to take on. Well, now Jones is back in that role again, this time in director Nikolai Foster's touring production. Stunning audiences with her refined acting and immense vocal power, she gives a performance which is hard to forget.

Danny Mac, Ria Jones and Adam Pearce in Sunset Boulevard

Photo credit - Manuel Harlan

As Norma Desmond, a faded silent movie star desperate to make a return to the limelight in Hollywood, Ria Jones captivates from her very first entrance. Clad head to toe in decadent and outlandishly glamorous attire, she carries herself airily, and it is clear that she is a woman living in her own world, unaware that her audience has left her behind. As well as some enthralling acting, Jones sings the role staggeringly well. Accompanied by a sumptuous live orchestra, Jones lends her thrilling vocals to iconic numbers such as With One Look and As If We Never Said Goodbye, bringing the house down in several occasions.

Opposite Jones, Hollyoaks and Strictly Come Dancing star Danny Mac proves himself to be a charming leading man as Joe Gillis, a down on his luck screenwriter who accidentally stumbles into Norma's home one night and finds himself thrust into her world of fantasy. His cynical narration ties the story together, and he plays his own part in Norma's illusion without hesitancy. Impressively, in a musical full of showstoppers for its female lead, Mac holds his own and performs the title number passionately, showcasing strong vocals. Following his turn as Warner Huntington III in the Leicester Curve's production of Legally Blonde last year, and more recently Gabey in the Regent's Park Open Air Theatre's On The Town, it seems as if his musical theatre career is on the rise!

Aside from the masterful performances, set and costume designer Colin Richmond's gorgeous designs are undoubtedly the highlight of this touring production. Cleverly playing on the idea of Norma's life mirroring the artificial facade of Hollywood, the set pieces break apart throughout the show to reveal their fakeness. Car chase scenes are played like something from a movie, with the bare bones of a vehicle being swayed by a barely disguised stage hand whilst the road is projected on a screen behind it. Yet despite this, the production maintains a sense of old Hollywood glamour. This is further emphasised by Ben Cracknell's lighting design, which is full of glorious brightness and warmth, and serves to increase the filmic aspect of the production design.

Sunset Boulevard is undoubtedly one of the most well known and loved musicals to have ever been written, and this touring production does an excellent job of showing just exactly why that is. With countless sublime musical numbers, a wonderfully atmospoheric design and a couple of exemplary leading performances, this production of Sunset Boulevard should not be missed.

Review - Legally Blonde (Leicester Curve)

Legally Blonde, the ever popular musical, has burst onto the Leicester Curve's stage in a furore of glorious pinkness. The show, based on the 2001 film of the same name, tells the story of Malibu sorority girl Elle Woods, who follows her preppy ex boyfriend Warner Huntington III to Harvard Law School in order to try and win him back, but once she arrives she finds a new love...justice! This feel good show was first seen on the West End in 2009, but the production in Leicester (directed by Nikolai Foster) is completely new, but just as brilliant.

Photo credit - Catherine Ashmore

In the past, Legally Blonde has received criticism from some for it's lightweight story and stereotypical characters, but while some of the show's themes do seem a little dated in 2016, its overarching moral that 'being true to yourself never goes out of style' is as relevant today as ever.

Lucie Jones is outstanding in the hugely demanding role of ditzy yet tenacious Elle, a character who is hardly off stage for the whole show. She has a fantastic voice and a winsome charm, and these elements combined make her an absolutely wonderful leading lady. Playing opposite Jones in the role of Emmett Forrest, Jon Robyns is equally impressive, particularly in his act 1 number, Chip On My Shoulder, which serves as a montage to show Elle's advancement as a law student. The song is excellently sung and provides some great character building moments, which help to drive the story forwards.

The songs of Legally Blonde (written by Laurence O'Keefe and Nell Benjamin) are invariably fantastic, and catchy numbers like the shows opening song Omigod You Guys, and the brilliantly heartening Legally Blonde Reprise really help to solidify the show's fun and upbeat tone. Interestingly, a few songs have been altered slightly or given a new twist. The most memorable and notable example of this is the new Bollywood twist on the rap section of What You Want. While the twist may be a little jarring to those familiar with the song, it is fun and refreshing, and showcases the vocal talents of Jamal Andreas, who also stands out both as part of the ensemble and in his roles as Padamadan and Nikos Argitakos.

Designer Matthew Wright's dazzling set design is pink perfection, and lighting design by Ben Cracknell is equally rosy. The overall effect is an almost overbearing pinkness which transports the audience to Elle Wood's world brilliantly. Although at times the stage does seem a little bare, and some moments (especially during big ensemble numbers) do get a little lost in the space, this is a small weakness in what is otherwise an unfalteringly enjoyable show. 

It is fantastic to see such a brilliant, high quality musical theatre production in the Midlands, proving that theatregoers don't have to travel all the way to London to see great theatre. Legally Blonde at the Leicester Curve features a top-notch cast and impressive creative team, and the result is magical. 

Legally Blonde is running at the Leicester Curve until Saturday 14th May before heading to the Deagu Opera House in South Korea where it will run from 25th June - 2nd July.