Review - American Idiot (UK Tour)

I can still remember hearing the iconic opening bars of American Idiot for the first time. Looking back the moment feels life changing, in a way. At age 9 I was way too young to understand the meaning behind the song’s subversive lyrics, denouncing the way the Iraq war was being turned into a spectator sport for rabid public onlookers thousands of miles away, but even at age 9 I knew a great song when I heard one. A great song which would go be Grammy nominated, become the band’s signature song, and eventually, share its name with a Tony Award winning rock musical.

The cast of American Idiot
Photo credit - Mark Dawson Photography

Of course, the fact is, when Green Day dropped their 7th studio album back in 2004, the world was in chaos. The Iraq War was making headlines every night, a global recession was affecting billions, and the USA was still reeling from the September 11th terrorist attacks which had shaken the world just 3 short years earlier. American Idiot was a direct response to this chaos – a punk rock opera telling the story of the Jesus of Suburbia; a restless kid coming of age in a harsh and hostile world. That storyline became the basis of the album’s 2009 stage adaptation, with the central character Johnny, the self-proclaimed Jesus of Suburbia, and his friends Will and Tunny setting out to escape the mundanity of their hometown, each coming up against barriers as they discover that the world is a pretty hostile and unforgiving place.

 

It’s a pretty profound and often uncomfortable watch, and in the 10th Anniversary UK tour director Racky Plews has done something extraordinary with it. The grandiose fist pumping Green Day anthems (the musical comprises of the entire American Idiot album, plus additional songs from 2009's 21st Century Breakdown, and one original song)  are just as hair raising as they’ve always been, but each feels surprisingly intimate and internal, and the book by Green Day frontman Billie Joe Armstrong and Broadway director Michael Mayer, although undeniably thin on the ground, ties the whole thing together and elevates it. Designer Sara Perks’ squalid sets bring the grim and hopeless world into even clearer view, casting a grimy haze over the production.

The cast of American Idiot
Photo credit - Mark Dawson Photography

The musical’s anti-hero Johnny documents his year in defiant letters; to his parents, his friends, himself. At times he’s funny, even charming in an odd way, possibly thanks to Tom Milner’s astute performance, but he’s also teetering on the edge of terrifying. He’s our narrator, yes, but far from taking us by the hand and leading us through the story, he’s constantly chomping at the bit, pulling away, losing himself on the Boulevard of Broken Dreams. Especially once he meets the swaggering rocker St Jimmy, who (spoiler alert) is later revealed to be nothing more than Johnny’s drug laden alter ego.

Johnny’s desperation to escape the claustrophobia of his small town is a familiar one. Especially to today’s millennials, promised the world by their parents, who find themselves instead inheriting a bleak, violent, hostile planet, which also happens to be dying at an alarming rate. With that in mind, plus the context of Bush-era America, is it any wonder that all we can do is watch in horror as Johnny’s dream decays, and he’s pulled into a self-destructive spiral of festering nihilism?

The cast of American Idiot
Photo credit - Mark Dawson Photography

Similarly horrifying is the ease with which Tunny is seduced into enlisting in the army. Ross William Wild’s Favourite Son, appearing via TV to advertise the military as a glamourous and glorious pursuit, is more akin to a rock star than a military recruiter. Joshua Dowen sings the heck out of the role throughout, making a standout moment out of Are We The Waiting; a rare slow, reflective moment in the musical, which shows Tunny and his fellow recruits, stumbling uncertainly into a route march.

The third member of the trio, Will, doesn’t even make it out of town. His girlfriend Heather tells him that she is pregnant and he decides to do the right thing and stay with her. Will and Heather’s storyline is an interesting one, showing the struggle young people experience when they’re forced by circumstance to mature before they’re ready. Heather handles the situation significantly better than Will to begin with, but in the end they make up for the sake of their child. It’s a slightly more uplifting story on the outside, but of course it’s seeped it sadness, because it represents a cycle. Another generation destined to be raised, as the doctrine of the Jesus of Suburbia foretells, ‘on a steady diet of soda pop and Ritalin’.

The cast of American Idiot
Photo credit - Mark Dawson Photography

There’s a reason Green Day’s American Idiot resonated with so many when it was released. Beyond the fact that every song is a killer, the album encapsulates the anger, frustration, and loss that kicked off the 21st century. And to be honest we’re still living in the shadow of that time now. Which is probably why the musical continues to feel relevant, and why it affected me so deeply. American Idiot is a high octane musical middle finger, and in today’s rocky political climate when it seems as if the world is destined to repeat its past mistakes all over again in addition to making a tonne of new ones, it’s never been more necessary!

Review - 9 to 5 the Musical (Savoy Theatre)

This year, 10 years after it opened on Broadway, Dolly Parton and Patricia Resnick’s 9 to 5 the Musical has finally made it to the West End. Based on the 1980 film of the same name, it tells the story of Violet, Doralee and Judy, three exasperated colleagues who join forces to try and banish sexism from their office.

 

The cast of 9 to 5 the Musical
Photo credit - Craig Sugden

Patricia Resnick’s book offers plenty of laughs, but also addresses, amongst other things, the gender pay gap, workplace harassment, and the bias against working mothers. All of which are issues which continue to make headlines today. The script’s puerile humour won’t be for everyone, but 9 to 5 the Musical certainly has its moments.

It also, obviously, puts its female stars front and centre, and wisely so as they are undoubtedly 9 to 5 the Musical’s strongest asset.

 

Caroline Sheen, Natalie McQueen, and Amber Davies in 9 to 5 the Musical
Photo credit - Pamela Raith

Amber Davies is sweet as young soon-to-be divorcee Judy, showing up for her first day of work looking like a child who raided her mother’s wardrobe, and with the naivety to match. She starts off unassuming, but ends up lifting the roof off the Savoy Theatre with Get Out and Stay Out, an empowering up tempo war cry which Judy delivers to her skeevy ex-husband.

Natalie McQueen is just as tremendous as Doralee, a “Backwoods Barbie” who has to prove that there’s more to her than meets the eye after facing relentless hostility from her female co-workers as well as relentless sexual abuse at the hands of Brian Conley’s lascivious CEO Franklin Hart Jr (Perfectly slimy and extremely gravelly voiced, so much so that at times he’s barely comprehendible). Bold, brassy, and hysterically funny, McQueen’s Doralee is a total scene stealer.

 

Brian Conley and Natalie McQueen in 9 to 5 the Musical
Photo Craig Sugden

Caroline Sheen completes 9 to 5 the Musical’s central power-trio as Violet, a strung out yet assertive single mother trying to make it to the top in her male dominated workplace. Her budding romance with a younger male colleague may not be the most compelling side plot, but she’s otherwise a fantastically well-rounded and dimensional heroine, and foil to the inimitable Bonnie Langford’s waspish Roz Keith.

The production is bolstered by comically 80s production design. The set which is bright and visually appealing, if a little bit sparse on the Savoy Theatre’s deep stage, with roll-on set pieces which betray the production’s past life on tour but are otherwise perfectly functional. Video design by Nina Dunn is sleek and vibrant, and while a Dolly Parton video cameo is evidently shoehorned in where it isn’t necessarily needed, having her pop up to sing a little bit of the title song is an undeniably upbeat crowd-pleasing moment.

 

It may not be the most robust or profound musical on the West End right now, but 9 to 5 the Musical offers a huge dose of girl power, which is sorely needed in 2019.

Review - [title of show] (Above The Stag Theatre)

First produced off-Broadway in 2006, [title of show] is a post-modern musical with music and lyrics by Jeff Bowen and a book by Hunter Bell, which documents its own creation in preparation for entry into the 2004 New York Musical Theatre Festival.

 

The cast of [title of show]
Photo credit - PBG Studios

One interesting aspect of [title of show] is that its four central characters are based entirely upon the musical's original cast; creators Jeff Bowen and Hunter Bell, and their collaborators, actors Susan Blackwell and Heidi Blickenstaff. In Director Robert McWhir’s production, actors Jordan Fox, Michael Vinsen, Kirby Hughes, and Natalie Williams take on the roles of Jeff, Hunter, Heidi and Susan. Uniformly charming and extremely funny the quartet of actors bring the autobiographical musical to life remarkably well, transporting the audience back to 2004. Their onstage chemistry as an ensemble is pitch perfect, rooting the unusual and at times rather unstructured material in reality, and giving the audience something to latch on to as the events of the musical unfold.

 

The cast of [title of show]
Photo credit - PBG Studios

[title of show] revels in its parred down, stripped back nature, placing its actors centre stage at all times and demanding a constant air of spontaneity from them. Happily, the performers bring it in spades. Fox and Vinsen make a snappy duo as the bickering yet brotherly leading men, whilst Hughes and Williams are equally entertaining as self-professed secondary characters Heidi and Susan, whose self-aware second act duet is a musical highlight. A special mention must also go to Associate Musical Director Oli George Rew, as [title of show]’s long suffering musician.

This is a meta musical which musical theatre aficionados will love. As well as delivering plenty of laughs, it also offers an insightful glimpse into the process of creating a new musical, from its inception all the way through to opening night… and beyond.

Review - Beauty and the Beast: A Musical Parody (King's Head Theatre)

Fat Rascal Theatre have done it again.

After a stonking run in 2017, Beauty and the Beast: A Musical Parody returns.

Robyn Grant and Jamie Mawson in Beauty and the Beast: A Musical Parody
Photo credit - Nick Rutter

Beau wants adventure in the great wide somewhere, and that's exactly what he gets when his mother is captured by a mysterious beast, who lives in an enchanted castle on the outskirts of Beau's hometown. 

Forget what you know about the Disney classic, Robyn Grant and Daniel Elliot's hysterically funny parody is the only version of the Beauty and the Beast tale that matters anymore. Weaving razor sharp wit in with bawdier sight gags and quips, the script is an expertly crafted patchwork of comedy. Jokes come thick and fast, leaving very little breathing space, and resulting in one hundred minutes of howling fun.

Jamie Mawson in Beauty and the Beast: A Musical Parody
Photo credit - Nick Rutter

Music by James Ringer-Beck and Nicola Chang brilliantly pastiches the pomp and grandeur of Alan Menken's Beauty and the Beast tunes. One standout moment sees the cast parody the famous showstopper Be Our Guest to hilarious effect, as the enchanted household objects invite Beau to Have A Brunch. Sadly whilst the anthropomorphic teapot, clock and candlestick Beauty and the Beast fans know and love are all in attendance, Beast's talking toilet is occupied elsewhere. The musical it outrageous fun in its own right, but those especially familiar with the 1991 Disney film will enjoy the lovingly executed lampooning in the script. 

Fans of the Disney film may also recognise Madame Ouef, a townsperson who appears intermittently throughout the musical, desperately hunting for eggs. An excellent homage to the egg enthusiast seen in the film's opening number. 

Allie Monro and the cast of Beauty and the Beast: A Musical Parody
Photo credit - Nick Rutter

The cast of 5, who multirole as an assortment of familiar characters, know just how to wring every drop of comedy out of Grant and Elliot's writing. Grant herself takes on the role of Beast, who learns to overcome her self-confidence issues and let love and friendship into her life. Jamie Mawson is brilliantly funny as doe-eyed Jane Austen novel enthusiast Beau, and Allie Monro is a glorious scene stealer as Beau's bohemian, beturbaned mother 'crazy old' Maureen. Monroe is equally brilliant as La Fou Fou, the under appreciated stooge of Katie Wells' brash and preppy fox hunting enthusiast Siobhan. Meanwhile, amongst other roles, Aaron Dart is a scream as a trio of angry villagers.

Put simply, Beauty and the Beast: A Musical Parody is almost impossibly good. So funny, you'll have tears of laughter streaming down your face by the end, this production is a rip-roaring success. 

Review - The Distance You Have Come (Cockpit Theatre)

Songwriter Scott Alan's creations are a cornerstone in many musical cabarets, and so it may come as a surprise that he has never written a musical. Until now. The Distance You Have Come is a song cycle of Alan's work, directed by Alan himself, which turns some of his best known songs into musical exultations for a sextet of strangers. 

 

Emma Hatton in The Distance You Have Come 
Photo credit - Darren Bell

Starring six talented vocalists, The Distance You Have Come is a musical patchwork which stitches together the lives of individuals as they tackle all the love, loss, joy and fear in their lives. 

What's immediately evident is that an immensely talented cast has been assembled for The Distance You Have Come. All six cast members are uniquely talented, and represent a different emotion, attitude and journey, which audiences will undoubtedly be able to relate to. 

Andy Coxon and Adrian Hansel are charismatic as Brian and Samuel, a pair whose sweet journey blossoms from an awkward first date into an all encompassing romance. Alexia Khadime is in excellent voice as Laura, whose journey is one of loneliness and heartbreak, meanwhile Emma Hatton's Maisey represents optimism and light as she follows her dreams of becoming an actress, Dean John-Wilson's Joe experiences bleak and overwhelming darkness after a break up, and Jodie Jacobs' Anna travels on the rollercoaster that is modern dating post split. 

Andy Coxon and Adrian Hansel in The Distance You Have Come
Photo credit - Darren Bell

The strength of the material in The Distance You Have Come lies in its relatability, and Alan's talents as a songwriter are on particularly impressive display during the musical's brighter, more upbeat numbers. Jodie Jacobs' take on the hilarious Your Name, in which Anna tries in vain to remember the name of a man she's just started seeing, is a particularly warm bright spot. 

However, in act one in particular, the stark depiction of the low moments in life bring the production to a bit of a standstill, as one slow melancholy number follows another and another without reprieve, or thematic variation. The songs are heartfelt and honest but frequently maurose and a little too similar to follow after each other in such quick succession. What little book there is also feels a little fumbling, and as a result the first act feels slightly overlong.

Dean John-Wilson and Jodie Jacobs in The Distance You Have Come
Photo credit - Darren Bell

Act two is a considerably lighter yet equally touching experience, which ultimately leaves the characters and the audience on a high. Minimal set and lighting design by Simon Daw and Andrew Ellis respectively helps to establish a feeling of quaint comforting familiarity which further emphasises the musical's relatable storylines, and as the six characters come together to sing a hopeful rendition of the title song euphoria most definitely swells. 

The Distance You Have Come is a functional showcase of Scott Alan's songwriting accomplishments, but could do with a more balanced and even plot which would allow characters to explore a wider range of emotions and life experiences on their own before crashing together for the finale.

Review - Company (Gielgud Theatre)

What do you want to get married for?

That is the question splayed across posters for Marianne Elliott's updated new production of George Furth and Stephen Sondheim's Company. 

It's also the question that plenty of single women will hear again and again, with every birthday that passes, from the lips of curious, concerned, and sometimes just plain busybodying family and friends. Which is what makes Elliott's production so apt. As Bobby, the male protagonist of the original Company, becomes Bobbie, a woman, the idea of being 35 and single carries plenty of other connotations. "Bobbie baby" indeed. 

The cast of Company
Photo credit - Brinkhoff Moegenburg

Set in modern day New York, Company consists of a series of vignettes, each of which explore the various relationships, both friendly and romantic, of single woman Bobbie. As she passes in and out of the lives of her married friends, she observes the trappings of marriage, but in spite of them, as she celebrates her 35th birthday she slowly begins to warm to the idea of commitment. 

Bunny Christie's set design is a marvel in itself. Perfectly reflecting the cold, sterile isolation of city life, Christie's set is comprised of a series on boxy interconnected rooms framed oftentimes by cool neon lights. Bobbie's apartment is a too-perfect collection of rectangular spaces, hinting at expense but looking severely un-lived in. 

At the centre of this cold, enclosed world is Rosalie Craig's vibrant Bobbie. Dressed from head to toe in ravenous red, she's certainly something to behold as she bounces from friend to friend. And yet amid the marital mayhem of Bobbie's friends, she rather sinks into the background. Outnumbered two to one by her overbearing couple friends, all snapping at one another whilst Bobbie kicks desperately to keep her head above the water.  One gets the sense that she is not ready, or particularly eager, to settle down, but absolutely terrified of getting left behind as all of her acquaintances' lives keep moving forwards. In today's era of FOMO, where every little detail of everyone's life is routinely scrutinised, this is a theme which seemed overwhelmingly relevant. 

Rosalie Craig, Alex Gaumond and Jonathan Bailey in Company
Photo credit - Brinkhoff Moegenburg

Bobbie's friends are certainly an entertaining bunch. Amongst the couples are Sarah and Harry, a chocoholic martial artist and a bumbling alcoholic, who seem to be playing a never ending game of tug of war with each other and are portrayed perfectly by Mel Giedroyc and Gavin Spokes. Jonathan Bailey and Alex Gaumond are equally entertaining as sweet but neurotic Jamie and smotheringly doting Paul. Meanwhile Ben Lewis' Larry is coupled with Patti LuPone's caustic Joanne.

The dynamic between Joanne and Bobbie is a fascinating one because is many ways they're very similar women; rich, and driven and who know their own minds. But even though Joanne is married (to her third husband, no less) and keen to see Bobbie do the same, her searing rendition of Ladies Who Lunch both warns against any unwillingness to fulfil the roles expected of women within society, and spits on the emptiness of that life. Joanne seems to suggest that although the idea of never getting married is unthinkable, should Bobbie get married she would inevitably become another lady who lunches, flaunting money at fancy social events, and doing not much else day to day. Despite the fact that, as Bobbie's stay-at-home-dad pal David shows, typical gender roles are less strictly upheld in 2018. It's a tragic realisation for the audience that brash and brassy Joanne is not nearly as blasé as she seems. Although the tragedy is worth it to hear LuPone's earth shattering vocals tackle what is arguably the musical's eleven o'clock number. 

Patti LuPone in Company
Photo credit - Brinkhoff Moegenburg

Thankfully, Company isn't all existential dread though. There are some real belly laugh moments in this musical comedy too, which are masterfully brought to life by an outstanding cast. Jonathan Bailey's rendition of Not Getting Married Today is a frantic plea for help performed at breakneck speed as a nerve wracked Jamie tries to garble his way out of marrying devoted longtime boyfriend Paul, whilst being pursued around his home by a priest who pops out of nowhere to exult about wedded bliss at every chance she gets. And You Could Drive A Person Crazy uses similarly surreal humour. Canonically performed Anderson Sisters style by Bobby's three flames Marta, April, and Kathy, in Elliott's reimagined staging Bobbie's boyfriends PJ, Theo, and Andy take on the number, smooth barbershop-esque vocals clashing nicely with the hyper modern setting and further emphasising how outdated the musical's emphasis on marriage seems. George Blagden, Matthew Seadon-Young and Richard Fleeshman are very entertaining in their roles, with Fleeshman's dopey yet lovable flight attendant Andy providing some of the musical's biggest laughs. 

This version of Company is the definitive version for 2018. Ingeniously directed and performed with humour and nuance, it makes the argument both for marriage and against it, and leaves the audience to imagine what is best for Bobbie, and by extension, what is best for themselves. 

Review - Once the Musical (Queen's Theatre, Hornchurch)

No one could have predicted the gigantic success of Once. The folksy musical, which began life as a 2007 indie film, is a simple story about a man and a woman, their joint love of music and their complicated relationships with the loved ones in their lives. There are no jaw dropping dance routines, no show stopping eleven o'clock numbers, no tricksy stage magic. And yet Once packs one hell of a punch.

Emma Lucia and Daniel Healy in Once
Photo credit -  Mike Kwasniak

More that three years after the musical closed on the West End, Queen’s Theatre Hornchurch and the New Wolsey Ipswich present the Tony Award winning musical's UK regional premiere, directed by Peter Rowe. Rowe's direction draws out the tender and natural character growth in playwright Enda Walsh's book and gives the whole musical a sense of uncanny naturalism.

The protagonist of Once is the enigmatically monikered 'Guy', a busker and hoover repair man pining for an ex who ran away to New York. He meets the frank and infectiously positive 'Girl', a Czech woman who just so happens to have a hoover in need of repair, and the two tentatively bond over the importance of music in their lives. In any other musical, the pair would embark on an epic love story central to the plot, and whilst Once doesn't shy away from the natural chemistry and budding romance of the two, from the moment they meet it is clear that they are destined follow a much less conventional path. 

The cast of Once
Photo credit -  Mike Kwasniak

The result is an astonishingly touching and overwhelmingly human portrait of love and heartbreak, with a hopeful yet fittingly ambiguous finale, which leaves audiences on a cautious high. The unforgettable music, by Glen Hansard and Markéta Irglová, encapsulates every emotion, teasing out pain and despair in every song, alongside the contrasting feeling of soaring joy and possibility. The swelling, longing Falling Slowly is, of course, a standout number in a sea of goosebump inducing songs. Additionally the entire musical is underscored extremely evocatively, allowing the production to maintain its magical atmosphere throughout. The cast of actor musicians directed by MD Ben Goddard must certainly be commended for their spirited playing.

Perhaps most vital to the success of Once is the effectiveness of the performances given the two main character, and Daniel Healy and Emma Lucia are completely charming as 'Guy' and 'Girl', the heart and lungs of the piece. Of course the music of Once drives the action a lot of the time, but the silent moments matter too, and the quiet intensity of both actors' performances is utterly captivating. 

Emma Lucia and Daniel Healy in Once
Photo credit -  Mike Kwasniak

Having understudied the role in the West End production, it's not surprising that Healy masters the complex nature of his character, a man who seems utterly crushed, who is just going through the motions until he learns how to fall in love with life again. His voice perfectly suits the show's music; balmy yet with a distinctive edge, and he shines in his introductory number Leave, and makes an even bigger impression in Gold, the first act's closing number, which is unashamedly syrupy and poetic, and a complete tearjerker. 

Lucia is similarly magnetic, playing 'Girl' with a combination of extreme earnestness and unquashable zeal. Her rendition of the song If You Want Me is almost otherworldly, combining outstanding vocals with mesmerising movement by director Peter Rowe. The character is an extremely layered one, and Lucia gives an increasingly touching performance as the layers are slowly peeled back.

Once is a musical which feels really special, and this new production directed by Peter Rowe is truly golden.

Review - King in Concert (Hackney Empire)

It's been 50 years since the assassination of Martin Luther King, one of the most influential and inspirational historical figures of all time. Although many may be familiar with the legacy of King, his personal life is decidedly less well publicised, and yet it is equally fascinating. Happily though, 30 years after its single public performance at the Prince Edward Theatre, Martin Smith's musical King was revived for just two performances at the Hackney Empire, featuring a story which spanned from King's time at university right up until his untimely death on the 4th of April, 1968.

Cedric Neal and Debbie Kurup in King
Photo credit - Nick Rutter

Getting to understand what drove King, initially a very reluctant leader, to become the iconic figure he is now seen as, was clearly at the heart of actor Cedric Neal's performance, as his embodiment of Martin Luther King was full of nervous energy, but also teamed with immutable power and conviction which only grew as the story went on. 

The supporting cast were equally strong, with especially affecting vocal performances courtesy of Jo Servi, Daniel Bailey, Adrian Hansel and Adam J Bernard. The quartet's touching a cappella number Freedom On My Mind stood in sharp contrast to the rest of the show, and provided a somber moment of reflection during an otherwise rather fast paced story. 

The story's pace may have been King's only real downfall. It moved so swiftly from one moment in Martin Luther King's life to another, touching on so many of his triumphs as a Civil Rights Movement leader that there was very little room for any deeper exploration of the events, and how they affected King and his family.

In fact, Coretta King, who was initially established as King's equal and even partially narrated the prologue and epilogue, was shunted to the side quite a bit throughout, which was a shame given the extraordinarily nuanced performance by Debbie Kurup, who was a statuesque marvel in the role. It may have been nice to see more of Coretta and the part she played in the Civil Rights Movement, independent of her husband.

The cast of KingPhoto credit - Nick Rutter 

That being said, the musical still packed plenty of painful punches, and the addition of archival images and video footage of the events taking place in the story was an inspired touch by Reuben Cook, which proved particularly potent during the Act 1 closing number; a musical interpretation of the emotions stirred by King's I Have A Dream speech. 

As is always the case with London Musical Theatre Orchestra productions, the orchestra was utterly faultless, embracing the verve and jubilance of Simon Nathan's orchestrations wholeheartedly, under the baton of conductor and London Musical Theatre Orchestra founder Freddie Tapner. Additionally, the voices of both the Hackney Empire Community Choir and the Gospel Essence Choir helped to bolster the already strong cast, and made large ensemble numbers soar even higher.

50 years after Martin Luther King's tragic death, his legacy still lives on, and King explored just exactly why that is. The man who rallied for the Civil Rights Movement, using his skills as a master orator to inspire crowds and arrange peaceful protests, will always be remembered for the part he played in changing the world, and in 2018 reviving a musical like King in order to honour him seems like the least that can be done. 

Review - Teddy (The Vaults)

The history of the Ted culture is a fascinating one. Originating in London in the 1950s, a rejection of post-war austerity and a rebellious response to American rock and roll music saw in a subculture characterised by its iconic fashions and vicious gang activities. Partially inspired by true events, Tristan Bernays and Dougal Irvine’s rollicking musical Teddy follows a pair of Teds on a mission to track down their musical heroes, Johnny Valentine and the Broken Hearts, at a secret gig in London. A fateful mission which will change both of their lives in ways they could never imagine.
 

Harrison White, Freya Parks, Dylan Wood, Andrew Gallo as Johnny Valentine and the Broken Hearts in Teddy
Photo credit - Scott Rylander

Right from the start Teddy’s focus is on the music. The audience is treated to a couple of preshow tunes courtesy of Johnny Valentine and The Broken Hearts. The original songs are all rock and roll inspired and accurately mimic the music of the era, with the musicians (Harrison White, Andrew Gallo and Jenny O'Malley) giving off distinct Buddy Holly and Eddie Cochran vibes. On the other hand, dressed in leather jacket, as the hip shaking, lip twitching frontman Johnny Valentine, Dylan Wood evokes another legendary rock and roll icon.

Enthusiastic dancing compliments the lively music, and achieves a sense of reckless chaos with only two actors on stage. An impressive feat, which showcases the skill and dynamism of Teddy’s central couple, as well as the gripping choreography by Tom Jackson Greaves.
 

George Parker and Molly Chesworth in Teddy
Photo credit - Scott Rylander

An unusual feature of Teddy is its dialogue, which takes the form an extended rhyming duologue, performed by George Parker and Molly Chesworth, who portray a number of characters throughout the show. The rhyming dialogue is certainly a distinguishing feature, and while it alternates between wistful and droning, the former normally dominates, and gives the entire piece a nostalgic tone, as if the whole audience is recalling the evening at the centre of the action from their own memories. At times during the slightly overlong first act, the rhyming dialogue becomes slightly tiresome, but the spry second act banishes that, with an adrenaline-charged plot and constantly escalating stakes.

The production exudes a sepia toned 50s aesthetic, from the rusted illuminated ‘T’ which greets audiences in the bar, to the warm glow of the string lights which adorn the auditorium, and dually allude to the makeshift aplomb of Ted culture, as well as the austerity of its post-war roots. A clever detail from lighting designer Christopher Nairne. Additionally, Holly Rose Henshaw’s well researched costume design captures the shapes and fabrics of the Edwardian inspired Ted regalia.

Although it would benefit from a slightly shorter first act to match the sprightly pace of the second, Teddy is an urgent and engrossing glimpse into one of the most iconic subcultures of the 20th century, and will have audiences bopping all night.

Review - Beautiful: The Carole King Musical (UK and Ireland Tour)

Following an impressive run on the West End, which finished in February 2017, just shy of it's 2 year anniversary, the Broadway smash hit jukebox musical Beautiful: The Carole King Musical is now touring the UK. With actress Bronté Barbé taking on the mantle of the eponymous Brooklyn born singer-songwriter, the touring production is as fresh and energetic as ever.

Bronté Barbé and the cast of Beautiful: The Carole King Musical

With more than a couple of embellishments here and there, Beautiful: The Carole King Musical tells the story of Carole King's life and career, from her early days writing music with classmate and childhood sweetheart Gerry Goffin to her first ever concert at Carnegie Hall in 1971. There's love, friendship and heartbreak, and of course, plenty of brilliant music to tie everything together. Admittedly, the plot is not the most exciting or groundbreaking one, but King's impressive back catalogue provides more than enough enjoyment to fill a couple of hours.

It's impossible to resist the bouncy melodies of It Might As Well Rain Until September and Take Good Care Of My Baby. The end of act 1 also packs a punch, with King unveiling some dramatic news about her relationship with the conflicted Gerry Goffin, and joining in with fictional girl group modeled on The Shirelles, as they sing One Fine Day, voice cracking as she reels from the news. King's discomfort with her surroundings is signified through her slightly frumpy clothing, which contrasts the sleek and glamorous 1960s chic which dominates Derek McLane's set design and Alejo Vietti's costumes. Bronté Barbé does a fantastic job of portraying King, sounding and acting with inflections which mirror King's own, but never impersonating her.

The musical's B plot follows King and Goffin's friends, the songwriting duo Barry Mann and Cynthia Weil, played by Matthew Gonsalves and Amy Ellen Richardson. Not only do the duo provide ample comedy relief, their presence also allows for a couple of additional toe tapping tunes to be included in the show, such as He's Sure The Boy I love, and You've Lost That Lovin' Feeling, the latter famously being the most played song on American Radio and TV in the 20th century!

It may not be the most historically accurate biography, but with one toe tapping tune after another, Beautiful: The Carole King Musical provides pure and simple escapism, and does justice to one of the greatest singer-songwriters of all time.

Review - 42nd Street (Theatre Royal Drury Lane)

'You're going out a youngster, but you've got to come back a star!' 

That immortal quote has never rung truer than today, as the classic Broadway smash hit 42nd Street taps its way back into the hearts of London audiences. At a time when atypical musicals such as the outrageous The Book of Mormon, and the rap sensation that is Hamilton, are ruling in the hearts of musical theatre lovers, it's easy to envision a good old fashioned musical like 42nd Street missing the mark and being rejected in favour of more modern hits. Thankfully though, it seems as if there is room for both old and new in the West End, as 42nd Street wows from start to finish, and never feels anything but fresh and vibrant.

The cast of 42nd Street
photo credit - Brinkhoff & Moegenburg 

The plot is your standard rags to riches fairytale. When the out of town tryout of legendary theatre director Julian Marsh's next big hit Pretty Lady is halted by the indisposition of his demanding leading lady Dorothy Brock, young chorus girl Peggy Sawyer is thrust into the limelight. Luckily the story's formula is a winning one in the case of 42nd Street, which revels in showing every single thrill and spill. It's a show about show business, and the hyperdramatic will-she-won't-she element fits in perfectly with that, and doesn't seem stale or overplayed at all. Admittedly the musical does show its age elsewhere, such as in songs like Keep Young And Beautiful, which reminds women to 'keep young and beautiful if you want to be loved'. But 42nd Street has so much deliberate hokiness and self-awareness that it could be said that the retro sexist aspects are just a reflection of the era in which the musical is set. 

It's an utter joy to see 42nd Street thriving at the Theatre Royal Drury Lane. It's hard to resist the megawatt smiles of the ensemble, currently the biggest on the West End, as they set the stage alight in popular numbers such as Lullaby Of Broadway and the titular Forty-Second Street. Special praise must also go to Stuart Neal as self professed temperamental tenor Billy Lawlor. He leads the gigantic ensemble in huge production numbers such as We're In The Money, a moment which is sure to delight even the most stoic audience members. However, amid all the pomp and circumstance, it is young star Clare Halse who truly steals the show as Peggy Sawyer. From the moment she stumbles onto stage unassumingly, only to reveal herself as a formidable hoofer, Peggy has her co-workers beguiled, and it doesn't take long for Halse to have the audience following suit. 

42nd Street is nothing less than showstopping in every sense. From the moment the curtain rises to reveal the 50 strong cast furiously tapping away to the opening routine, it's abundantly clear that no expense has been spared on this production. From the cast of first rate performers to the feast of spectacle which oozes from the sets and gorgeous costumes, this is what a big budget West End musical should aspire to be. It's a giant, glitzy, eye-popping production with enough energy to light up the whole of Theatreland. 

Review - Beautiful: The Carole King Musical (Aldwych Theatre)

Despite frequently telling people left right and centre that jukebox musicals aren't my cup of tea, I must admit that when I learned Beautiful: The Carole King Musical was getting a West End transfer, I was very excited. After it amounted 7 tony award nominations last year my interest was piqued, and once I had purchased the cast album I knew that I had to see this show.

Photo credit - Tristram Kenton

Much like the Four Seasons in the popular musical Jersey Boys, while the name Carole King may not mean much to a large majority of generation x-ers, the music of King and Goffin is so ingrained into popular culture that most of us don't even know how we know hits such as Will You Still Love Me Tomorrow and Take Good Care of My Baby, we just...do! For this reason, when Rebecca at Official Theatre offered a couple of London theatre bloggers tickets to see the newly opened show, I jumped at the chance. So last night I made the journey down to the Aldwych to see if my high expectations would be matched, and I'm happy to say that I was not disappointed. In fact, not only were they matched but in some ways they were exceeded to an extent I could have never predicted.

The basic plot follows Carole King, her husband Gerry Goffin and their friends and songwriting rivals Cynthia Weil and Barry Man, during their rise to fame from the late 50's onward. The dialogue is frequently interspersed with familiar songs, especially in the first act, and I frequently caught myself grinning at the slickness with which numbers were choreographed and the enthusiasm and talent with which the cast performed. However while initially this song-scene-song structure is effective, after a while the first act does seem to get a little repetitive, with King and Goffin writing a song and various groups taking that song and recording it. And while Douglas McGrath's book allows the audience to be a fly on the wall during intimate moments in act 1, at some points the more dramatic act 2 moments feel a bit sitcom-y in tone due to having received the same treatment. All in all though, the story of Carole King and her colleagues is an interesting and surprising one which kept me entertained and emotionally invested from beginning to end.

For me though, one of the most delightful elements of the show is the way that Katie Brayben transforms herself from naive teenage Carole Klein to self assured Carole King of Tapestry fame in front of the audience's eyes. Brayben nails King's iconic twangy vocals, captures all of her characteristic quirks and hits her Brooklyn accent out of the park. Paired with Alan Morrissey as the passionate yet tumultuous Gerry Goffin, Brayben captivates the audience and leads the show masterfully. Meanwhile Ian McIntosh is hilarious as hypochondriac songwriter Barry Mann,  and Lorna Want is charming as Cynthia Weil, the quick witted and super chic lyricist with the wittiest dialogue and perhaps the most stylish wardrobe in the whole show. As you would expect, the ensemble is on top form, with standout performances by Lucy St Louis who brings boundless energy and fun to her solo The Locomotion, and Ed Currie and Dylan Turner who wow with their dulcet tones as The Righteous Brothers.

Alejo Vietti's costume design was also first class, with some really staggering quick changes, no shortage of sequins, and more slacks than anyone could ever wish for. Truly, if I could have taken home everything Cynthia wore during the show then I'd have done it in a heartbeat. Beautiful is a vintage clothes lover's paradise.

I can't say enough good things about Beautiful. It's slick, it's glitzy and I predict it's going to be a surefire hit with the masses, but it's not just a stylish paint by numbers jukebox musical, it's got a heart too. In fact, it feels like I've had a lump in my throat ever since I left the theatre and I can't quite explain why. But I like it! So grab a ticket while you can as I predict that with word of mouth this show will be drawing in the crowds for months and months to come.

Review - Shrek the Musical (UK Tour)

Shrek the Musical is the perfect example of a show which shouldn't work and yet does! It's cheesy, it's surreal, and it contains more fart jokes than you could ever possibly want to hear, and yet there's something about this show that makes all of these foibles obsolete. Perhaps it's the brilliant makeup and costumes that bring all of Shrek's most loved characters to life, maybe it's the sheer conviction with which the whole cast performs, or maybe it's just that with a show like this you allow yourself to sit back and enjoy it rather than being overly critical (which isn't to say that there's nothing to discuss or commend because there really, really is). It's good old fashioned entertainment, and I absolutely loved it!

The cast all give outstanding, sometimes uncanny performances as their Duloc counterparts. In particular Leo Roberts, the understudy for Shrek who was on when I saw the show, whose mimicry of Mike Myers' iconic Shrek voice was outstanding. Not to mention his singing voice which was so powerful and moving, especially during the show's act 1 closer 'Who I'd Be' which, if I'm honest, did get me a bit teary! Meanwhile, Steffan Harri (understudying the role of the tiny yet terrible Lord Farquaad) provided laughs aplenty with his energetic and hilarious rendition of 'Things are Looking Up Here in Duloc'. His almost cartoonish facial features and brilliant comic timing made Farqaad so enjoyable to watch that I found myself longing for his next scenes of comedic villainy! Additionally Faye Brookes was lovely as Princess Fiona and Idriss Kargbo did the seemingly impossible and made the role of Donkey his own!

Another enjoyable elements of the show for me was the use of puppetry. I don't want to spoil anything for anyone yet to see the show, so I'll simply tell you that the dragon puppet is really impressive, and the actress who gave her her voice (Candace Furbert) has a song that will blow you away!

For someone who was just 5 when the first Shrek film was released, it felt almost surreal that 14 years later I was sitting in a theatre watching a beloved childhood film jump off the the screen and in to real life! Yes, it's an odd topic for a musical, but does that matter at all once you're sat down in your seat and the lights are down? no! In fact, watching Shrek the Musical is probably the most fun I've had in a theatre in a long time, and if you're looking for some escapism, a way to entertain your kids for an evening or just some good old fashion fun, then be sure to book a ticket to see Shrek the Musical as soon as possible!

Verdict - 3 1/2 Stars

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