Edinburgh Fringe Review - Kids With Beards: The Curse of the Secret Ham

Every afternoon at 4:30, comedy sketch group Kids With Beards are performing their new show The Curse of the Secret Ham at Just The Tonic in The Caves. Spoiler alert! There's much less cured meat in it than the title suggests.

The show gets off to a rather slow unassuming start, with a couple of good but predictable jokes. Thankfully, once cast gets into their stride there are some genuine laugh out loud moments. One sketch parodies a pizza delivery man pornography cliche, another focuses on two pop stars from 'Recordia' who play the recorder through their nose, while a third spoofs Masterchef with a 5 second cooking competition. However, the most hilarious sketches follow two completely monotone acquaintances who meet in an optometrist of sorts. Although no one sketch is particularly groundbreaking or new, the cast sell every joke with their energy, and keep the audience on their toes with quick witted improvisations.

However, while there are some really brilliant sketches, it occasionally feels as if the jokes are not outrageous enough. There are a couple of riotous quips and sketches about incest, death, and Brexit, but the cast seem to play it safe and could afford to push for even more shocking jokes. Additionally a couple of jokes run quite long, and the audience's initial reactions wear off before the sketch is over. More conciseness and a more frantic pace may help the pacing, which feels slightly lagging at times.

Overall The Curse of the Secret Ham is great fun, and feels fresh despite the Fringe's sketch comedy saturation, but it could do with a bit of fine tuning and polishing to really help elevate the jokes.

The Curse of the Secret Ham is free and unticketed. Visit the fringe site for more information.

Review - Groundhog Day (Old Vic)

Groundhog Day is an exciting new musical based on the 1993 film of the same same. It stars Andy Karl as narcissistic weatherman Phil Connors, who begrudgingly travels to the tiny rural town of Punxsutawney, Pennsylvania to report on a story about its most famous resident Punxsutawney Phil, a Groundhog who can allegedly predict the weather. However, Phil finds himself stuck in time loop and is forced to live out the same day again and again...and again, in a seemingly endless cycle. Groundhog Day is directed by the Old Vic's artistic director Matthew Warchus, with a book by Danny Rubin and music and lyrics by Tim Minchin. 

Photo credit - Manuel Harlan

This is Tim Minchin's first musical theatre offering since Matilda, one of the most successful musicals of recent years, and as such the anticipation for this show has been huge. Therefore, what is immediately obvious is how markedly different Groundhog Day is in terms of musical styling. The songs are fast paced and feature the witty, wordy lyrics that Minchin is famous for, but are less instantly memorable this time around. That being said, the show features a number of thrilling rock inspired tunes, as well as several sweet ballads. It'd be unwise to equate catchiness to quality, as that certainly isn't applicable in the case of Groundhog Day. 

The show almost solely focuses on Andy Karl, whose voice is perfectly suited to the score and whose magnetic stage presence and easy charm almost make Phil a likable protagonist. However, particularly in the first act, when his sole drive seems to be bullying and mistreating those around him and trying to seduce every girl he meets, Phil is a decidedly difficult character to warm to.

Interestingly, at the top of act two Groundhog Day temporarily refocuses on Nancy, an everywoman from Punxsutawney who catches Phil's eye and is temporarily the object of his affections. Georgina Hagen sings the touching opening song with power and gravitas, but it is hard to have an emotional response to a song sung by a character which the audience is almost entirely unfamiliar with. Perhaps this is the point though? Groundhog Day is Phil's personal purgatory, and yet his actions affect everyone around him (albeit just for one day), a fact which he gives very little thought to initially. 

After accepting that he is fated to repeat the same day forever, Phil naturally begins to reconsider his life and what he wants from it, and his attentions are turned to his news producer acquaintance Rita, played by Carlyss Peer. Rita is an interesting character who has her own relatable problems and motivations. Clearly a foil for Phil, she is plighted by her treatment at work and her longing to find a perfect partner and yet maintains an easy going, kindhearted persona nonetheless. Carlyss Peer is warm and affable in the role, and portrays Rita's depth remarkably well, considering the fact that she has only one day's worth of character development. 

Photo credit - Manuel Harlan

It could very easily be argued that Phil's character arc is driven by his need to finally get the girl by whatever means necessary, which is a slightly outdated motive. However, Phil's learnt selflessness and humility are really what drives the story in the end, and offers a much more rewarding resolution to his character flaws. The story is intriguing and surprising, and by the end it truly feels like a journey has been had by all. A hard feat to accomplish in a musical where the sole premise is that a day repeats over and over again. Many of Phil's Groundhog Days are presented in a series of montages, executed slickly with the help of several revolves. This format ensures that the audience gets a sense of Phil's exasperation and entrapment, but also safeguards against the possibility of the repetitiveness becoming sluggish. 

The revolves are frankly mind boggling, and in fact it seems that the whole show relies on them. Designer Rob Howell's sets are simplistic yet effective, and lighting design is wonderfully atmospheric. The small town aesthetic of Groundhog Day is perfectly encapsulated in of all of the props and sets, from a bar to a diner, to a bed and breakfast, and everywhere else in between. Despite the need for simplicity due to the fast paced set changes throughout the show, the attention to detail is still delightful. 

Groundhog Day is an exciting new musical which exceeds all expectations. It is a shame that as of yet there is no news of a cast album, as repeat listening would no doubt uncover dozens of witty lyrics which are easily missed in the relentlessness of the musical on stage. All in all though, the show is a dark yet delightful romp, which takes full advantage of its repetitiveness, and makes sure that every moment is engaging and unpredictable. Don't miss it at the Old Vic until September 17th.

Review - Murder on the Terrace ((Heartbreak Productions) UK Tour)

Is there anything more enjoyable than lounging outside on a summer evening, watching an excellent play and enjoying a picnic at the same time? Well, that is exactly what Heartbreak Productions Open Air Theatre audiences can enjoy this summer at many venues up and down the country. 

At a garden party hosted by Lord Cava, his nephew Charles, the heir to Cava's Sparkling Wines, is found dead under mysterious circumstances. Enter Inspector Back (of the Yard) an imposing yet exasperated detective who enlists the audience to help solve the case. 

Murder on the Terrace is a farcical whodunit, packed with an array of kooky characters, shocking plot twists and frankly criminal jokes! The original script by David Kerby-Kendall features countless pop culture references, as well as one or two obligatory song and dance numbers, and audience participation throughout. 

The audience participation element in particular is a big hit, with audience members being called up on stage to take part in murder mystery themed quizzes and games, as well as being encouraged to take on the role of detective and interrogate characters in order to try and uncover the truth. 

The cast is razor sharp and have great rapport with one another as well as with the audience. Their multi-roling is impressive, and is also used to great comedic effect within the plot. James Edwards is brilliant as Lord Cava, a despicable toff who isn't afraid to incriminate himself in order to show his disdain for his dead socialist nephew, meanwhile Amy Gardyne has some excellent one liners as Ellie, the Cava's hapless maid, and also impresses as Lady Caroline, Lord Cava's daughter. The whole cast works together as an excellent comedic ensemble, and is led by Benjamin Thorn as Inspector Back, whose sighs and exasperated glances to the audience bring about some of the show's biggest laughs.

Pedantically, there are several glaringly anachronistic plot elements, some rather provocative stereotypes, and a rather inordinate disregard for the fourth wall (even for a tongue-in-cheek comedy!), which may throw off a few audience members who are unfamiliar with the genre of farce. Similarly, the absence of political correctness may initially elicit a few uncomfortable chortles. However, once the tongue in cheek nature of the script is fully established the audience is able to relax and engage with the piece more comfortably.

All in all, Murder on the Terrace is excellent fun, particularly for those who would consider themselves Agatha Christie or Poirot aficionados. The jokes come thick and fast, there is innuendo to spare, but wrapped up in all of the comedy is a rather neat and genuinely intriguing murder mystery story. 

Visit  www.heartbreakproductions.co.uk to find the full tour schedule, book tickets, and read about 3 other plays also being toured by Heartbreak Productions this summer.

Thanks to TheatreBloggers for the invite!

Review - Showstopper! The Improvised Musical

For most people, a great musical is one which features catchy songs, amazing choreography and a compelling story. These elements can take weeks of rehearsal to perfect, therefore to some the idea of an improvised musical is preposterous. However, that is just what theatre company The Showstoppers are offering in Showstopper! The Improvised Musical.

Photo credit - Geraint Lewis

The premise is ingenious. At the beginning of the show the audience is invited to shout out ideas for plot points, settings, songs and even the show's title itself. The cast then improvise a full length musical based almost entirely on the audience members' suggestions. To many, the task would be entirely impossible, but the cast of Showstopper! demonstrate a level of harmoniousness which makes improvising a 2 hour long musical look effortless. 

The most fantastic thing about Showstopper! is that literally anything could happen. The night this review was written the musical was entitled Toga-hontas. Set in ancient Greece, two army generals returned from war to find their city destroyed by famine. The plot was full of love triangles upon love triangles, a slowmo gladiator fight and a trip to the underworld, and also featured songs inspired by Rock of Ages, Hairspray and Grease (what else?). 

Every cast member and musician worked incredibly hard and all were totally in tune with one another throughout the show. Every song was full of lightning quick quips, innuendos and double entendres which keep the audience on their toes. 

As well as the amazing tunes, the cast also improvised some hilarious comedic moments which had tears of laughter streaming down audience members' faces. The plot was slick, for the most part, and when the story did become sidetracked Dylan Emery (who acted as a host for the performance) was quick to step in and focus it. 

All in all, Showstopper! is the perfect night out for anyone who enjoys musical theatre, comedy, improv, or a combination of all three! No two shows are ever the same, so make sure you catch Showstopper! in Edinburgh this summer. Find out more information by visiting their website at www.theshowstoppers.org!

Review - Romeo and Juliet ((Garrick Theatre) via live broadcast)

Every year, countless productions of Romeo and Juliet are staged around the country. Some remain faithful to the original text and recreate the staging conditions as accurately as possible, while some opt for the popular technique of modernisation, in text, costuming, context or oftentimes a combination of all three elements. Either way, over 400 years since it was written, just about every staging gimmick has been done to death. And yet this production, set in 1950s Italy and screened in black and white to emphasise this (and create a subtly film noir esque air), Kenneth Branagh and Rob Ashford's production felt refreshingly uncomplicated, but stylish nonetheless. 

Photo credit - Johan Persson

Screening the production in black and white really emphasised what an elegantly designed production this was. The costumes by Christopher Oram were chic and flattering, and set design, also by Christopher Oram, was similarly slick and felt simultaneously airy and claustrophobic. Both elements helped to plant the production firmly in 1950s Verona. While the use of black and white to represent the two feuding families was not exactly groundbreaking, dressing the lovers in monochromatic costumes was an interesting appendage to the symbolism. 

While it was clear that this production was built around Richard Madden and Lily James (last seen as lovers in Disney's 2015 Cinderella remake, which Branagh also directed). The most interesting bit of casting was undoubtedly Derek Jacobi as Mercutio. Jacobi played an aged yet mischievous and rather dapper Mercutio, and his unconventional casting changed the dynamic of Romeo, Benvolio (Jack Colgrave Hirst) and Mercutio's friendship for the better, emphasising Mercutio's role as the peacekeeper of the group, while revelling in jokes and innuendo. Given how likable the character was, it was a shame to see his duel with Tybalt (Ansu Kabia) was practically non-existent, and his death scene seemed rushed and lacked any sense of real tragedy or loss. Meera Syal was similarly engaging as Juliet's loving yet exasperated nurse, and her comedic and somewhat coy performance was original and very entertaining.

Photo credit - Johan Persson

As the titular characters, Richard Madden and Lily James were likable, but did little to elevate the text or present it in any groundbreaking way, and  both seemed too mature to convincingly sell the rashness of the pair's hormone and malaise fuelled love at first sight. However, the couple did share several entertaining scenes including a particularly humorous balcony scene, and James' heartbreaking and hysterical act two Juliet was devastatingly good, if a little cloying toward the middle of the act.

Act two seemed shorter than usual, and yet still the bombardment of heightened emotion meant that the dramatic finale failed to pack the level of punch expected from the classic tragedy. However, the finale did bring with it one of the most affecting moments of the night, delivered by Michael Rouse and Chris Porter as Lords Capulet and Montague. Their reconciliation at the very end was touching and striking in its simplicity. 

All in all, while by no means groundbreaking, this production of Romeo and Juliet was entertaining, voguish and well cast, and the conversion to black and white on screen worked very well. It is brilliant to see such a star studded production made so accessible via cinema screening, and while the pros and cons of recorded videos vs. live theatre are still being debated, increasing the accessibility of high profile productions can't be a bad thing!

Romeo and Juliet plays at the Garrick Theatre, London, until 13th August. Find out more information and purchase tickets online at the Kenneth Branagh Theatre Company website.

Review - She Loves Me (BroadwayHD)

The idea of filming theatrical performances has been debated heavily for many years now, as more and more theatrical productions here in the UK are recorded and released in the cinema. However, on June 30th, history was made as She Loves Me became the first Broadway show to ever be livestreamed around the world for anyone to enjoy! The full show, which is currently available to watch on the BroadwayHD website for only $9.99, will soon be taken down, edited and then reuploaded later this year. The editing will no doubt iron out some of the minor sound and picture faults which were somewhat inevitable in a livestream, however, even without this addition postproduction the livestream was a total success and will no doubt have converted some of those who were more dubious about the idea of presenting theatrical productions in a digital medium.

Photo credit - Joan Marcus

She Loves Me is a fluffy and fun romantic comedy, set in 1930s Budapest, which follows two parfumerie clerks Amalia (Laura Benanti) and Georg (Zachary Levi) who can't stop bickering with each other at work, despite the fact that secretly each is the other's anonymous pen pal. Written by Joe Masteroff,  with music and lyrics by Jerry Bock and Sheldon Harnick respectively, the plot is saccharine yet irresistible (much like the vanilla ice cream which Amalia fawns over in act 2) and filled with hilarious beats and brilliant one liners, while the songs are instantly hummable, with clever rhymes and satisfying counterpoints. It is hard to imagine this show failing to charm an audience, and this particular production is elevated by an outstanding cast which ensures that audience are left captivated. 

Although perhaps best known for his role in NBC's beloved comedy spy show Chuck, Zachary Levi is the perfect Broadway leading man, with easy charisma and a gorgeous singing voice, he injects a charming goofiness into his role, and showcases his impressive vocal talents throughout, particularly in the show's titular song She Loves Me, which is performed with boundless exuberance. He shares the stage with Broadway star Laura Benanti who showcases impeccable comedic timing and a stunning and effortless legit soprano. She is well deserving of the final bow. The pair have sumptuous chemistry on-stage, which makes the ending hugely gratifying, yet predictable of course! 

Photo Credit - Joan Marcus

Additionally, Jane Krakowski puts a wonderfully suggestive spin on the cutesy clerk Ilona, and Gavin Creel is scene stealing as slimy cad Steven Kodaly. Their B-plot tryst is deliciously engrossing and culminates in an outlandish song and dance number, Ilona, in which the pair chew the scenery like their lives depend on it. A glorious celebration of how over-the-top musical theatre can be, and not out of place in the semblance of reality in which this production of She Loves Me is set.

Photo credit - Joan Marcus

A first rate cast has been assembled for this production, and combines TV and film personalities with outstanding Broadway performers to great effect, which will no doubt have enticed audiences to watch the BroadwayHD recording who may not have otherwise been aware of its existence, or considered that it might be something that they would enjoy.

This production of She Loves Me also benefits from absolutely beautiful Tony Award winning set design. From the enticing parfumarie to a cosy cafe, to Amalia's homely bedroom, set designer David Rockwell has created an enticing picture of 1930s Budapest, which audiences will want to live inside. Similarly, thanks to Jeff Mahshie's costume design, every character is decked out in an enviable (and period appropriate) new outfit in every scene. 

For the inaugural BroadwayHD livesteam a more universally enjoyable Broadway show could not have been selected.  The 2016 revival of She Loves Me is a gorgeous production of  a delightful and timeless little show, and will hopefully go down in history as being the first of many livestreamed Broadway musicals, which allow those who don't have the means to travel to New York to enjoy top quality productions affordably, from the comfort of their own living room! 

Jeremy Jordan at the Hippodrome Casino

For many musical theatre fan, listening to cast albums is often to only way to get a taste of certain broadway shows. Although many shows which originate in New York end up transferring to the West End eventually, there are many others which fall by the wayside. An example of the latter is the 2012 Disney theatrical production, Newsies. There was a time a few years ago when Newsies was all I would listen to, and as such I became a huge fan of show's star Jeremy Jordan. 

After leaving Newsies (but not before bagging a Tony nomination for Best Actor in a Musical) Jordan went on to appear in a number of high profile musicals, TV shows and movies, and secured a name for himself as one of Broadway's most reliable and versatile leading men. 

When the Broadway superstar announced a series of 3 concerts at London's Hippodrome Casino, it was obvious that demand for tickets would be huge. After all, Jeremy Jordan had amassed a vast and varied fan base throughout his career, having starred in Broadway shows such as the aforementioned Newsies as well as Bonnie and Clyde and West Side Story, films such as Joyful Noise and The Last 5 Years, as well as TV shows such as Smash and Supergirl. When tickets went on sale, over 5000 people tried to purchase them, and the venue's ticket website experienced so much traffic that it literally crashed. Thankfully though, against all the odds my friend and I managed to bag two tickets for the Thursday 8pm show, and so all that was left was to wait and wait for that day to arrive!

From the moment he stepped on stage (to rapturous applause, naturally!) Jeremy Jordan seemed totally at ease and immediately likeable. In addition to treating the audience to a number of his 'greatest hits' such as Broadway Here I Come, a song from the fictional musical Hit List, which his character Jimmy wrote on the TV show Smash, and Bonnie from the short lived but hugely popular Broadway musical Bonnie and Clyde, he also took time to tell the audience about his life and career in his own words, as well as treating us to a couple of songs which he himself had written. I actually really enjoyed these original songs and will definitely be buying Jeremy Jordan's upcoming debut album when it is released. 

Jeremy Jordan is such a talented performer, and just being at the concert had me grinning from ear to ear throughout, but a few moments really stood out. Firstly, it was a treat to hear him sing Moving Too Fast from Jason Robert Brown's musical The Last 5 Years. The musical itself is one of my favorites, and hearing Jeremy Jordan (who starred in the musical's 2012 film adaptation opposite Anna Kendrick) sing the song with such flair and enthusiasm was a real highlight. Equally, when Jordan invited his wife Ashley Spencer to join him on stage and duet the musical theatre staple Take Me Or Leave Me it was clear how much fun the pair were having, and that enthusiasm was shared by the audience, who went wild for the no holds barred performance. However, perhaps the most magical part of the evening came right at the end, when the audience was treated to a breathtaking rendition of Santa Fe, from Newsies. For me, at least, Newsies was my first introduction to Jeremy Jordan's talent and so hearing him perform such a powerful song live was just spectacular. 

Sadly, Jeremy Jordan has now played all of his UK concerts, and has returned to America where he will next be seen as Tony in the Hollywood Bowl concert of West Side Story. It was such a delight to experience such a high profile Broadway actor give such an enjoyable and intimate concert here in London, and I really hope this isn't the last time he crosses the pond. It is clear, judging by the demand for tickets, that he has thousands of fans here in the UK, and I know that I would certainly jump at the chance to see him perform again!