"Jim Steinman's Bat Out Of Hell The Musical", London Coliseum, 22/8/17 (Closing Night)

A monumental, dominating, exuberant production, Jim Steinman's life work realises the promise within his rock and roll fantasies in the temple of imagination that is the theatrical stage and now the end has come and Jim Steinman's Bat Out Of Hell The Musical (to give it its full title) has played its final performance at the London Coliseum. The fact the pre-show sequence was greeted with a standing ovation speaks volumes about how much this production has come to mean to so many different people; Bat Out Of Hell has become more than a musical, more than an experience - for some, it is a way of life.

Jim Steinman has apparently always had a fascination with Peter Pan - something I can relate to - believing it to be naturally equatable with rock music and its ethos. This, tied with his love of grand opera, gave birth to his early attempts to create a musical based on J. M. Barrie's fairy-tale and nearly half a century later these principles still form the fulcrum of Steinman's megalithic musical, the ultimate realisation of all his previous efforts.
Sometime in the future a cataclysmic event has separated the island of Manhattan from the mainland of America, isolating its inhabitants. In the same event a group of teenagers are mysteriously genetically frozen so that they never age a day again. This group form The Lost who are led by eternal rebel Strat, whilst the remaining inhabitants eventually come under the rule of Falco who, in the year 2100, is busy redeveloping the island which has come to be known as Obsidian. The Lost are opposed to much of his plans and the two opposing sides frequently clash.
Each side has their own issues with Falco having to deal with his unhappy, alcohol fueled wife, Sloane, who aches for the passion and freedom of her youth (something Falco also envies of The Lost) and the impending 18th birthday of his rebellious daughter, Raven, who is enamoured with The Lost and their secret lives.
The Lost battle to retain their way of life whilst attempting to deal with their internal relationships; tribe members partner up with each other, some evidently moving from one to the other, whilst adult emotions attempt to make their mark with Jagwire persistently pursuing the exotic Zahara despite her protestations of un-interest in a serious relationship with him.
Strat's best friend, Tink, suffers constant emotional turmoil given the fact he was 'frozen' on the brink of pubescent maturity and he harbours a secret love for his hero and leader which soon turns to jealousy when Strat falls in love with Raven, prompting severe reactions from her father and, sadly, from Tink. It is Strat and Raven's relationship that forms the core of the musical, whilst the other relationships also have to be dealt with.

In presenting three variations of a love story, Steinman enriches his plot and forms a unique triumvirate which can be seen as different facets of love at different stages of life. We also see an outside force acting upon this triumvirate in the form of Tink, who epitomises the darker aspects of unfulfilled love; love gone bad, as it were.
Through all the action and emotional eddies that occur, ultimately it is the rock and roll sensibilities, based on primary emotions, that must win out and, naturally, love and hope are the strongest of these.

Jim Steinman's book is relatively simple and frequently punctuated with his famed word-play and abstract speeches and it is quite a change from the earlier incarnations of Neverland and The Dream Engine in being far more accessible for an audience than the earlier versions of the musical. His retelling of J. M. Barrie's Peter Pan is infused with his sexual and rebellious rock and roll sensibility whilst the integration of Steinman's songs are completely organic, generally serving to promote the plot and/or reflect internal feelings whilst often exploding externally.
It is, perhaps, rather misleading to call Bat Out Of Hell a "jukebox" musical - as some have done - since the majority of songs have been created from some incarnation or another of Steinman's Neverland project and therefore suitably reflect the appropriate requirements of a particular scene or moment. Even the 'flashback' scene works utterly in harmony with the nature of the piece. Rather, Bat Out Of Hell is the ultimate development of a musical that has had a number of permutations over the decades. As the saying goes, musicals aren't written - they are rewritten.

Steinman has never thought small and the creative team assembled rise to meet his OTT standards to create a theatrical language and environment that suitably match his otherworldly vision, from the monolithic set which encapsulates the environments of the island city of Obsidian, further enhanced with video projection and some incredibly dynamic lighting that fuses the best elements used in theatre and stadium shows through to the energised and spirited unconventional choreography (which often tells its own story) and the fluid, sometimes abstract, direction which is perfectly paced whilst eloquently presenting the relevant information. The costumes, redesigned following the Manchester run, are also integral to the world and now create a unified vision whereas, in Manchester, a number of pieces stood out glaringly - and not always for the right reason. Altogether a unified visual ideal is promoted that is succinctly attuned to Steinman's material.
The orchestra (or band) are also quite exceptional, breathing new life into Steinman's songs with their dynamic playing of the incredible arrangements and orchestrations that pay homage to the original recordings whilst also serving as fresh, theatrical interpretations. Led by the more than capable Robert Emery they are an equal part in the success of the production and the little nod to the orchestra's presence in the first act is quite brilliant.

The production has undergone some further changes just before closing; changes in dialogue, dialogue cuts and a line or two moved streamline the musical further without damaging the plot at all, though the "mirror" speech omission - cut down a while back - still makes the sole remaining line rather awkward, coming out of nowhere as it does and without any context. Reinstating the speech, or some version of it, would only benefit the scene.
The biggest change is the cutting of the gorgeous "It Just Won't Quit", one of the more mellow songs that added an emotional resonance to proceedings as they stood. Whilst the reworked scene works just as well, and the emotional connection between Strat and Raven easily reaffirmed elsewhere, the song is missed as a gentler number amidst the more frantic ones that dominate the musical score and also as an opportunity to give Raven more musical material. Missed most is the brief moment of Tink singing the final line of the song which further suggested Tink's inner turmoil which ultimately leads to his final choices.

The magnificent cast excelled themselves even further than previously and it's clear that the closing night was an emotional one for all and the company evidently made the most of their final performance with sheer joy on some faces and tears in their eyes as and when appropriate. Danielle Steers' and Dom Hartley-Harris' relationship as Zahara and Jagwire has never been stronger and their connection has never been so heart-warming, no doubt reflecting the fact that Dom is not travelling on to Toronto with the company. Steer's face said it all during their moments together, especially during "Two Out Of Three Ain't Bad" where it was a case of smiling through the tears. Steers really is something else and is an especially unique find amongst the gifted cast. The emotional and vocal powerhouses extend throughout the company with Rob Fowler's Falco and Sharon Sexton's Sloane continuing to be a dynamic duo whose bitterness and despair spills across the stage as they journey through the disappointments of growing up. Something that Aran MacRae's Tink laments being unable to do. MacRae is the catalyst for several plot points and his is a precisely attuned performance and it's a shame there is not more made out of the character. Christina Bennington surpassed herself as Raven, aching to be free and revelling when the  opportunity arises, while Andrew Polec's dynamo performance as Strat reached new heights, as did his vocal prowess which has never been more assured. His embodiment of Steinman's rock-n-roll ethos is sublime perfection.
Steinman and his creative team could not have wished for a more perfect ensemble and it is one of the greater joys of this production to see a youthful company make fresh claims on Steinman's epic songs and interpret them with new eyes and voices; voices that, unlike many current musicals, are all distinct and unique yet, when blended together, beautifully harmonious.

Looks like The Lost have indeed been found ...

I have, of course, previously written about Bat Out Of Hell and those writings can be found here, here and here.

Finally; it is a shame that, presumably for health-reasons, Jim Steinman could not witness his creation in the flesh and bask in the triumph so deserved. I hope he gets the chance to attend the Toronto production but I, selfishly, am overjoyed to know that the production will be returning to London in 2018 and urge all to buy a ticket when it does!

"Kinky Boots", Adelphi Theatre, London, 25/11/16

My second return visit to what has become one of my all-time favourite shows proved just how astoundingly joyful and uplifting the show really is.

This is the first time I've seen the production since its first cast change and I think I noted a few minor little changes here and there, although I could, of course, be wrong.

'Charlie Price' reluctantly takes over the his family's shoe factory and must work to find a way to save the factory and its workers. Unexpectedly encountering drag queen 'Lola' an idea is born which may just be the answer. 'Lola' and 'Charlie' join forces and face adversity and bigotry head-on, both external and internal, leading to the realisation that finding and accepting one's self is as important as accepting each other.

Matt Henry remains from the original cast and he just gets better and better; his comic timing, his physicality, his glorious voice and the powerful emotional performance he elicits is brighter than ever and he truly deserved the Olivier award for his performance. He is magnetic as 'Lola' and the dimensions he brings to the role seem forever fresh.

David Hunter has taken over as 'Charlie' and he is simply perfect for the role. His everyday charm and warmth, his physical presence and his honey-like vocals, together with his natural appeal indicate that he was born to play the role and he manages to elevate the standing of 'Charlie' when next to 'Lola' with the energy and chemistry between the two perfectly attuned. Hunter fits even more naturally into the part than his predecessor and this is equally true of Elena Sky who has taken over as 'Lauren' who bestows a more naturalistic take on the part as does Alan Mehdizadeh as 'Don'. Michael Hobbs is another holdover form the original cast and his 'George' is even more enjoyable and humorous than before.

The entire ensemble, whether new or old members of the company (and including the young actors), all work together to create a powerfully effective ensemble and this is never truer than in the portrayal of the various 'Angels' who are the back-up singers/dancers for 'Lola'; each is a clearly defined individual and their interactions, even when not the primary focus of a scene, are little gems amongst a treasure trove of glories that constitute the cast of 'Kinky Boots'.

The orchestra is equally on fire and the sound they produce is one of the pillars that holds the production up so well. The sound design of John Shivers works perfectly in tandem with the musicians and I have a greater appreciation for the music and lyrics that Cyndi Lauper which prove to be irresistible and sublimely suited to the production. Harvey Fierstein's book seems to work even better than before and this may be due to the fresh influx of performing talent that performs it.

Gregg Barnes' costumes are as radiant as ever and are set off against the set design of David Rockwell which morphs effortlessly as required and is complimented and set off by the lighting design by Kenneth Posner who lights the cast stirringly.

Jerry Mitchell's direction and choreography is clear and concise allowing his performers, both new and old, to take ownership of their characters in the best possible way. His staging is sympathetic to the requirements of the story-telling whilst also providing a conducive environment for the company to thrive in. Mitchell's contrasting use of lively action and stillness is well executed and he handles the comedy with ease. Though, at times, it may seem that the production is a little light-handed given the plot and themes, this is ultimately not the case as Mitchell delicately and deftly balances the more frivolous aspects with the more heavy material and ultimately all is perfectly appropriate to the nature of the show.

There is such economy in the story-telling and staging and the music so ultimately uplifting that is hard to see how this cannot be classed as perfect entertainment material. The fact that the message behind the plot is deftly handled without being in any way preachy makes this a production that has many levels and one that can appeal to one and all.

I cannot shout loudly enough at how outstanding 'Kinky Boots' is and I cannot recommend it highly enough; it is a show that, for many a reason, should be seen by as many people as possible. Especially in this day and age. 

I have now seen the production thrice and I shall see it again. And again. And ...

So: 'Just Be!'

"Kinky Boots", Adelphi Theatre, London, 29/7/16

Joyous, ebullient, engaging and thoroughly entertaining, "Kinky Boots" is a wondrous musical experience that lifts the spirit and rejuvenates the soul. Based on the film - inspired by a true story - the musical tells the story of Charlie Price who reluctantly takes over the failing family shoe factory in Northampton following his father's death. In London he encounters Lola, a drag queen, who inspires him to reinvent his product to save the factory and its workforce. Along the way Lola and Charlie discover love and acceptance and overcome prejudice and fatherly expectation.

The score by Cyndi Lauper may not be the most musically complex but it perfectly suits the tone of the show and is a major element in the uplifting power of the show. Harvey Fierstein's book follows the original movie quite closely, adapting the plot well for the stage. Though the plot details are streamlined somewhat this is all to the benefit of the show's focus: Charlie and Lola and their relationship. Only in such a musical could the detail omitted be acceptable and yet the story remain so very clear. This is, of course, due in part to the director and choreographer, Jerry Mitchell, who works the stage really well, supported by a set design that looks perfect and costumes that light up the stage.

The cast are nothing short of excellent and one must feel a tad sorry for Killian Donnelly who plays 'Charlie' as his role - and perfect acting - is naturally overshadowed by Matt Henry's 'Lola', a dynamic force of nature if ever there were one. Together the partnership is a dream and the contrast between parts is perfectly attuned and each presents a three-dimensional character who elicits a strong response from the audience. The supporting roles are equally as charged and Lola's 'Angels', the drag queens who support her, are beyond entertaining and their use throughout the show is brilliant.

"Kinky Boots" is a truly uplifting production and a show with a message that, while not exactly subtle, does not overpower the show in any negative aspect. In a turbulent world "Kinky Boots" is a pure joy and exactly the entertainment needed to remind us how wonderful people can really be.

"Funny Girl", Savoy Theatre, London, 28/7/16

Second time around.

I'll admit, given my first experience with Sheridan Smith in the role, I was kind of hoping her understudy, Natasha J Barnes, would be on (she now shares the role with Smith who, for some reason, is unable to perform eight shows a week) especially given the raves she received when she filled in for a few months when Smith took leave (in fact the reviews were better for Barnes than Smith). As it happened, Smith was on. I had my fingers crossed she would, at least, get through the first act but otherwise left expectations at the door. As it turned out she completed the entire show. Just.

This production transferred from the Menier Chocolate Factory and was reworked in certain regards when it reached the West End stage - the design was enlarged and dance sequences were expanded. With a revised book by Harvey Fierstein (original by Isobel Lennart), Music by Jule Styne and lyrics by Bob Merrill the musical contains some iconic numbers including 'People' and 'Don't Rain On My Parade' and originally starred Barbra Streisand who has been intrinsically linked with the show ever since. It is, perhaps, because of this fact that a revival has yet to appear on Broadway and has only now materialised in the West End of London. Smith's profile and following was clearly enough to give the producers confidence in transferring to the West End (a confidence that must have been shaken following recent events) and, if nothing else, this production does indicate that "Funny Girl" need not rely on Streisand to sell it. It does, however, require a comedic actress with strong vocal gifts to lead the production. More on that later.

The production itself is relatively simple - not surprising given where it started - and doesn't have a massive chorus or orchestra. The simple production design by Michael Pavelka has some lovely elements including mirrors which are used evocatively. My only real qualm is with the backdrop which shows the auditorium of what appears to be a grand opera house, rather than a Broadway theatre fitting for the Zeigfield Follies back in the day. Travelators are used to effect throughout but this is the extent of the most technical aspects of the show (which makes the previous cancellation due to 'technical difficulties' harder to believe). Mark Henderson's unobtrusive lighting fits easily into the simplicity of the production as do the costumes of Matthew Wright.

Lynne Page's choreography is likewise relatively simple yet effective and the direction by Michael Mayer serves the show well, especially his use of Pavelka's mirrors which reflect the idea that the story is actually told in flashback.

The orchestra, which actually contains a string section, may be a touch thin on the ground but the sound they produce is quite impressive and the musical direction is confident, although 'Who Are You Now' (which in this production becomes an entirely pointless duet between 'Fanny' and 'Nick') and 'The Music That Makes Me Dance' are performed at such a tempo as to make their emotional content weak and ineffective.

The company are really excellent and contain numerous stand-out performances, from Marilyn Cutts, Valda Aviks and Gay Soper as 'Mrs. Brice' and her friends to Bruce Montague as 'Florenz Zeigfeld' who is both commanding and tender. But Joel Montague as 'Eddie Ryan' is a revelation. He dances and sings strongly, creating a character of real dimension and one the audience can empathise with. Darius Campbell as 'Nick Arnstein' cuts a striking and dashing figure and his vocals are as strong as he is still. It is this stillness which creates a dramatic contrast to the hyper-active 'Fanny Brice' of Sheridan Smith. Indeed, Smith's 'Fanny' is quite chaotic and one is not always convinced this is part of the performance. There are several occasions throughout the show where it seems Smith is veering on the edge and this sense of uncertainty and danger is one that can make an audience uneasy. Based on what I witnessed of her performance previously, this time around she is certainly more assured and confident, her diction clearer and her voice stronger (and more in tune), but she still relies too heavily on one or two vocal tricks and facial expressions, which actually become predictable throughout the show, to really make her performance entirely believable. She is indeed funny at times, even affecting, but there are too many points in the production where she is seemingly almost out of control. Her voice is not strong enough to handle the demanding score and in the bigger numbers it was very clear when Smith was gearing up to hit a note and I wonder why some of the numbers' keys were not lowered (this would certainly have aided Smith greatly). Whilst she managed to hit virtually all the notes, the sound that came out often sounded shrill, strained and thin and I found myself thinking of many a mediocre karaoke singer singing those same songs in bars around the world. The fact that Smith visibly broke character to celebrate her getting through 'People' is also not a great indicator. With all that said, Smith can be a moving actress and she does often find little moments to really show her talent. It's just a shame this is inconsistent.

But the show works, even if the revised book is not as successful as one would hope (the second act appears to need more work whilst the first wouldn't be harmed by a little trimming), and this production shows that the ghost of Streisand need not deter producers and directors from staging the show more often. It does show that a strong lead is required, however, and that lead need not be a famous name.

The show has announced a UK tour which is to commence in the new year and I only hope that the producers take these facts into consideration when casting 'Fanny'. Given the reviews she received, they could do worse than cast Natasha J Barnes in the role. At least then I'd get to see her in the part.

Half an hour with "Funny Girl", 28/4/16, Savoy Theatre, London

Following its sold out (in 90 minutes!) run at the Menier Chocolate Factory, "Funny Girl" transferred to the West End's Savoy Theatre in a slightly expanded production. Starring Sheridan Smith, whose name is emblazoned above the title on every advertising board going, the West End production is also very nearly sold out.

Booking a ticket early was essential and this was done last November (the transfer was announced before the Menier run had actually begun) so the wait was a long one. But, only one week following its opening night, the day finally came. Much preparation and cost had gone into seeing the first revival since the original London production back in the 1960s which was the sole purpose of our visit to London. We had to finance the cost of travel to and from London, accommodation for the night whilst there and, of course, the tickets themselves. I absolutely refuse to pay "premium" prices since the very idea is nothing less than a con by money-hungry producers. None the less the cost was not cheap!

So it was we got into London with enough time to check into our hotel and grab a bite to eat before we headed off to the Savoy.

Let me say now that the theatre staff were far more welcoming to us than they had been a year before when we visited the same theatre to see the revival of "Gypsy".

It was interesting to see the variety of merchandise available for the show - t-shirts, mugs, umbrellas, bags etc. Yet "Funny Girl" still had no souvenir brochure on offer!

We settled into our dress circle seats with a great view of the stage with much anticipation.

The lights dimmed and the 13-player orchestra (complete with strings!) struck up with the Overture. The presence of the strings was most welcome, even if the sound remained a little thin.

Smith appeared as "Fanny Brice" and the show started proper. Smith gave Brice a pronounced Bronx accent which appeared to limit her diction somewhat with quite a number of words muffled. This accent also seemed to interfere with her singing which was curt and not always in tune. For certain the final note of "The Greatest Star" was off, yet quite flawless in the brief reprise that soon followed. Smith was certainly amusing in the role, although not outright hilarious, and she was given to acting more like a desperate idiot out for attention (even being rather sexual with some of the male dancers - let's be frank; she was groping their crotches!) rather than a natural comedienne letting her talent speak for her. Given I was not a natural fan of Smith (unlike many I had come for the show) I was actually starting to warm to her and, flaws and all, she was certainly proving that "Funny Girl" need not rely on the spectre of Barbra Streisand.    

The rest of the cast were quite ebullient in their roles but we were sadly given little time to appreciate them as, following Fanny's stage debut with the "Cornet Man" number (another somewhat slogged performance from Smith), immediately following Fanny's introduction to "Nick Arnstein" (a dashing Darius Campbell) and her singing of the twiddly "Nicky Arnstein" lines when the stage was emptied (apparently a simple exit as per usual) when the show suddenly stopped. There was a dead stage for a minute before an announcement was made over the speakers: A technical issue had prompted a brief delay. The safety curtain was lowered.

After 10 minutes or so the front of house manager made an announcement that the delay was taking longer than expected so patrons were free to use the lavatories and bars. 

Audience members became restless not long after and there were some confrontations with the front of house staff. Some irate man was shouting at the young woman at the coat check/merchandise stand. Approximately 30 minutes later the dreaded announcement was made that due to "Technical Difficulties" the show had to be cancelled. This was greeted by boos and jeers from various factions in the audience, some of whom shouted "no! no!" when the front of house manager advised that the box office should be contacted the following day for refunds as it had been closed for the evening. His brief speech was previously interrupted by noisy, talkative audience members which prompted other patrons to shout at them to "shut up!" so the f-o-h manager could be heard. 

Frankly it was bordering on chaos, but the Savoy Theatre staff were nothing but courteous and as helpful as their limited information allowed.

Given the apparent technical naivety of the production it was instantly puzzling as to what technical problem could have caused such an issue as to prompt the show's cancellation. Almost immediately rumours began circling that the issue was perhaps more to do with Smith herself and the media soon started commenting on these rumours.

It is unfortunate that the producers have allowed the very vague term "technical difficulties" to persist when a more exact explanation might have put paid to the rumours before they started.

It is, of course, greatly disappointing when a show is cancelled only half an hour into a performance as it's too short a notice in order to make other plans. It is also annoying when such efforts and costs have gone into a trip whose sole purpose was to visit the production. 

That said, it is always possible that technical issues can happen. Likewise it is always possible that a headlining star may have to pull out of a performance due to illness or other unforeseen circumstances (as was the case in the ENO's production of "Sunset Boulevard" that starred Glenn Close) and people are only human, after all.

I'd like to think that the rumours about Smith are only that and nothing more and that it was indeed a technical issue - whatever that may be - that prompted the unfortunate cancellation.

What adds salt to the wound is that some ticket vendors have been rather unhelpful in assisting affected audience members in obtaining refunds or exchanging the tickets (and given the limited number of tickets remaining this is an anxious issue for some) to the point where telephone lines have been extinguished.

A most unpleasant experience all told.

UPDATE 2/5/16:
There have been reports in the press regarding the alleged behaviour of Sheridan Smith at this particular performance and, if they were found to be true (which could possibly be substantiated by the various reports Stage Managers and Company Managers keep), it would prove to be a most upsetting turn of events. I can forgive a true "technical difficulty" but if a "star" is being disrespectful not only to her fellow cast members but also to the orchestra, crew and theatre staff - not to mention the PAYING AUDIENCE - then it is deeply disturbing and I sincerely believe that the producers, if the reports are indeed true, have a duty to provide every audience member with compensation.
It was bad enough trying to deal with the ticket vendors (in this case Ambassador Theatre Group) whose procedures and staff made the process a vexing experience and also a time consuming one.

'The Color Purple', Menier Chocolate Factory, 31/7/13

This one may contain spoilers (as might all my posts).

Alice Walker's novel is famous in its own right and spawned an Oscar nominated film directed by Steven Spielberg. In 2005 a musical version opened on Broadway and now that musical has finally reached the shores of dear ol' Blighty, albeit in a new, stripped down, version directed by Tony winner John Doyle.

The Menier Chocolate Factory has gained a reputation for creating excellent work and they have done no less here.
The intimate space works wonders for the production where props are minimal and the set almost nothing bar washed down wooden boards. In this production you feel almost involved; indeed during the opening number the ensemble interact with the audience.
Simplicity is the name of the game here and the bare staging works to allow the words and music to do most of the work rather than fussy staging and choreography. Even the reduced orchestra sounds more appropriate than the larger one heard on the Original Broadway Cast Recording.

The cast are divinely selected and I can think of no one person who is a weak link. Some of the casting choices may come as a bit unexpected, if you know the film for example, but this adds a refreshing air to the roles and they still are suited to their parts. And the vocals that come out of each and everyone of the company must be amongst the strongest ever assembled in a musical. So much so that when singing as a company they gel perfectly and harmoniously, no more so than in the final (title) number.

As 'Celie', Cynthia Erivo is simply wonderful - as if born for this role. Her stillness is as powerful as her vocals and her arc throughout the performance is well defined; despite being the smallest person onstage her presence is one not to be ignored, even as her character is. The growth and development of 'Celie' is well metered and honest and one gets a sense that what is eventually freed from within her has truly been there all along, waiting for the opportunity to be seen by another.
That other is 'Shug', the woman who sees more than most, and Nicola Hughes presents her more than a free and easy spirit. She is real, earthy, honest and magnetic.

Christopher Colquhoun as 'Mister' goes beyond caricature and creates a man both terrible and sympathetic, certainly not an easy task given the nature of the character.
Sophia Nomvete reinvents 'Sofia' and gives one of the most fetching performances as she seizes the stage with full vivacity to imbue life and energy into a woman not content to be treated like others she sees around her and, when beaten down, she becomes truly pathetic and sad which makes her phoenix-like rebirth all the more impressive and believable.
Likewise all other cast members make each character their own, such as Adebayo Bolaji who makes 'Harpo' and enchanting, attractive character and nothing like the bumbling joke seen in the film adaptation.

Whilst the original Broadway production had a large, bombastic, orchestration the new, smaller, orchestration is appropriate to this production allowing the human voice to truly be the primary instrument heard. Any larger an orchestration would have sounded quite ridiculous in the small, intimate venue but, also, this new orchestrations strips away some of the musical decoration around the main melodies and gives the score an added poignancy and simplicity that speaks more directly to the audience.
Indeed this is true of the production as a whole - less is more: The slightly revised book is allowed to breath as much as the lyrics and music and by doing away with extensive props and scenery the plot and its characters are presented with pristine clarity.

It is such a shame that this production is not to be transferred to the West End although rumours of a future on Broadway and beyond have been sounded. What Broadway would make of such a tiny production, I have no idea, since most Broadway musicals tend to be large affairs. If it were to be produced in a large Broadway theatre then the production would have to be altered somewhat, so as not to get lost in such a cavernous venue, and that would be a bit of a shame since the intimacy of the production is part of its charm. That said, even a West End transfer would have necessitated some alterations (especially given the fact that the show is on a thrust stage rather than within the confines of a proscenium) but in a smaller theatre it could be made to work.
Whatever its future I just hope that this production has one!

Heaven On Their Minds - Stephen Tate

Another (quick) video I created since I've had some requests to upload more of the Original London Cast album.
Stephen Tate performs as 'Judas'.

'Taboo', Brixton Club House, 11/12/12

'Taboo' is an affectionate reflection on the New Romantic club scene and the people who frequented it. The fictional plotline women around the real life figures, replete with an outstanding score by Boy George and Kevan Frost, was a big success first time around. Now, all the original creatives have re-assembled and reworked the show, rejigging the plot-line, the score and even the design.
Now a sight-specific production, taking place in an actual club, this new update works even better than the original (which I thought would be almost impossible). The New York adaptation has all but been forgotten (and with good reason) aside from a few musical numbers which were created for the NY run and which are seamlessly integrated here. The original 'raw' aspect is restored to the play much to its benefit, unlike the sleek, polished, Broadway production.
The reworked script clarifies the plot even more and changes 'Billy's' journey slightly making his story arc more transparent and believable. Likewise the other characters this change impacts.

The cast are exceptional and, led by original cast member Paul Baker, reprising his role as 'Phillip Salon' sing and act mere inches away from the audience. Such bravery, especially given the attire and roles they perform is acting at its best. Alistair Brammer as 'Billy' is everything required of the role and strikingly handsome to boot. A leading man, indeed, and one to watch! Matthew Rowland as 'Boy George' is something, also, although memories of Euan Morton in the role are quite pervasive.
Sam Buttery as 'Leigh Bowery' lends a beautiful voice and honest soul to the performance. And he makes some brave choices in his portrayal.
The club setting, and the close proximity of the audience to the cast, is part of what makes this production work so well. Here one is all but part of the show.

The three piece band, plus sound design is first rate and perform O'Dowd's score to perfection.
My only gripe is that one or two numbers written for the Broadway staging that aren't included here could have been with little adaptation required. I also miss 'Church of the Poisoned Mind' from the original staging. But these are very minor quibbles in a show that has reworked itself to near perfection.

Catch this show while you can. Prepare to be transported to a world where everything's 'taboo'. Prepare to be moved, also!

'Sweeney Todd', Adelphi Theatre, London, 29/8/12

This one is very late but I am, at last, getting it down (indeed there are a few other reviews I have yet to put down).
This production was, to put it simply, perfect. From the cast, through to the lighting and sound design, the set and the orchestra, every thing coalesced to create one of the most thrilling, engaging and sublime pieces of theatre I have ever experienced.

This was no mere rehashing or retreading of past productions but a fresh take that approached the work with a more realistic edge than the original melodramatic approach: Even before the first note of the Overture the cast milled about onstage going about the daily drudgery of their lives in the dirty east end of London, efficiently setting up the environment before the show had started proper - these were hard times and people were suffering.

It is difficult to single out any one cast member but it is quite appropriate to say that Imelda Staunton as 'Mrs. Lovett' and Michael Ball as the title character were revelations. Staunton, especially, clearly played the role in a way not seen before - here was a person truly as vile and warped as Todd himself.
Lucy May Barker's voice was glorious as 'Lucy' and hers was no dumb blonde of a role. Likewise James McConville's 'Toby' was no mere idiot, rather he was played as a naive boy with learning difficulties. I found his 'Not While I'm Around' truly heartbreaking.

The set was ingenious, industrious and, at times played subtle homage to the original Hal Prince staging. The lighting perfectly complimented this with atmospheric use of light and shade.
The sound design was divine with voices layered in a way I've never heard before - with some voices more 'present' than others at times, the sense was one of aural depth, the likes of which complimented Sondheim's perfect score tremendously.

I only wish the run had been extended and that the production had been filmed. It truly was perfect in every way and I lament the fact that the cast recording was only a highlights album (and one full of strange choices - 'Pirelli's' numbers are excluded as is 'Green Finch and Linnet Bird').
I shall treasure the memory, however.

'The Phantom Of The Opera', Her Majesty's Theatre, London, 13/12/2012

I last saw the 'Brilliant Original' in 2006 where, whilst it still worked as an enjoyable piece of theatre, it was beginning to suffer from fatigue. Many cast members at the time had been with the show for several years and, to my eye, were simply 'going through the motions' which is a big no no!
This could not be further from the truth of this current company headed by Marcus Lovett who imbue the show with so much fresh energy and verve that it truly felt as though the show had only recently opened.

For the first time in all of the times I've seen the show in London I sat in the stalls which allowed me to see every line on each person's face. (I was also surprised at how small the stall section was). From the stalls the whole Chandelier sequence was much more exciting and involving.

The show still runs like a well oiled machine, hell even more so since last I saw it. The lighting and sound are still second to none whilst the visual effects still have the wow factor.

The entire cast was top notch with the ensemble in fine form and voice.
Lara Martins as 'Carlotta' was perfectly vile and diva-ish and in fine(is that word appropriate here?) voice as the schemings soprano hell-bent on keeping her status. Jeremy Secomb is perhaps the most realistic 'Piangi' I've seen. His pairing with Martins works, he has a lovely voice, but is also built like a strapping operatic tenor rather than the clownish versions of 'Piangi' I've seen before.
Barry James and Gareth Snook as the 'Managers' (who they also played in the 25th anniversary concert) were humorous and fresh - not simply sticking to how they played the roles previously.

Alternate 'christine' Anna O'Byrne, who features as 'Christine' in the DVD of the Melbourne production of 'Love Never Dies' was revelatory. Her vocals at times echoed those of Sierra Boggess but were distinctly her own. Her portrayal of the fear, confusion and inner turmoil at the struggle she endures whilst trying to fight for her freedom from both the shadow of her father and 'The Phantom' was tremendous, and she played the arc story arc perfectly; going from naive girl to confident woman via the ordeal in the graveyard where she truly begins to regain control of herself. During 'The Point Of No Return' that control is assured so that when, in the final lair scene, she is faced with the choice of 'The Phantom' or her true love 'Raoul' it is believable why she chooses the former. It is also worth noting that Hers is one of the few portrayals that makes me believe that she utterly wants to be with Raoul whilst feeling pity (and really little else) for 'The Phantom'. This is partly due to Simon Thomas who plays Raoul. He is no overly confident cad but rather someone who cares much for his former childhood playmate. Thomas is dashing in the role and brings the helps balance out the love triangle perfectly.

As 'The Phantom' Marcus Lovett is a wonder. His voice of hard thunder, lightning and soft silk and candlelight is not typical Phantom fare yet echoes the voice described in the original novel. In fact, much of his portrayal echoes the novel. He doesn't merely echo anyone else who has filled the shoes of 'Erik' but plays Leroux's 'Phantom'. Here is a 'Phantom' who, at times, one thought was capable of utterly destroying that which he loved most - namely the Opera House and 'Christine'. Yet he also showed the tender side that only 'Christine' was able to produce', showing us the adolescence that never was; where a normal man would learn social skills, 'Erik' clearly has not and has thus remained much a spoiled, temperamental child. The final lair scene is one of the most thrilling I've seen, filled with danger, passion and clarity. Lovett's demoniacally passionate 'Phantom' dragging his obsession around left 'Erik' quite possibly dying of the heart attack that claims him in the novel. Lovett's presence, power and inherent awesomeness as 'Erik' is sublime and I may have a new favourite 'Phantom'. He slowly stalks at one point and then rushes about maniacally the next. His 'Phantom' is truly full of the unexpected.
I dearly hope I can see him in the role again before the end of his run.

I urge you to go NOW to Her Majesty's to catch this amazing performance in this amazing show. Believe me when I say words can't really describe how wondrous Lovett is.

'Priscilla Queen Of The Desert - The Musical', Palace Theatre, London, 15/12/11

For the second time I saw 'Priscilla' at the Palace Theatre in London which reinforced my feelings for this show: Once again I could not stop smiling from the overture through to the jubilant curtain call.

I finally got to see Richard Grieve as 'Tick' and was struck at how tall and handsome he is (he also has rather large feet!). He gave the role an elegant, assured voice and played the role with a sincerity and effortlessness that was something of a revelation. In short I fell in love with him from the get go.
Don Gallagher, Ray Meagher et al were as wonderful as before and Callum Nicol as 'Felica' was very good although Oliver Thornton who normally plays the role was missed; where Thornton has clearly perfected the role over time, Nicol has had less stage time in the role although the role is clearly an enjoyable one. Nicol's singing was top notch whilst his characterisation was clearly echoing that of Thornton (though no doubt this is how the character is written and directed) and the few individual touches that Nicol brought were enjoyable to behold.
Newley Aucett, who I'd previously seen as 'Tick' was excellent as 'Miss Understanding' setting the standard from the outset. Likewise Liz Ewing was brilliant as rough neck 'Shirley'.

The concept and the score work perfectly together and the book still comes across as sharp and succinct as before whilst the set and costume designs still remain something to be seen. 

It is still a shame that this joyous show is closing and will not be seen again (at least in this incarnation) as it has to be the most exuberant theatrical experience I've seen. I certainly can't recall any other show that makes me ache with smiling so much.

'Ghost The Musical', Piccadilly Theatre, London, 17/11/11

From the overture, complete with a title sequence, it was clear that the film was never far from the creators minds (well, the screenwriter also wrote the book!), so much so that there were few deviations from the film’s details, save for theatrical purposes (there is no penny floating in the air for example, but what replaces it is simple, theatrical and succinct.).

Musically the score is enjoyable, though only one or two songs really stood out for me. That said it certainly suits the piece well since the whole production has a look and feel that is part musical theatre, part rock concert, especially where the lighting is concerned. Sadly, at times, the music obliterated the words though this was not detrimental to the understanding of the story.

Rob Howell’s design was fluid with moving floor sections (a tad overused in my opinion) and LED walls being used to present a variety of locations and effects. Speaking of effects, the magic effects (including the Blue Room Illusion) by illusionist Paul Kieve were truly engaging and well executed and  kudos must go to the lighting which aided in many of these. Likewise the projections served the production well.

The choreography by Ashley Wallen seemed quite alien at times in relation to what was happening plot-wise and served no real dramatic purpose at times though when used to comment on fast living NYC and the world of finance then it came into its own as did the chorus.

Caissie Levy was clearly the outstanding performer of the show with a great voice, subtle acting and believability as ‘Molly’ that removed any thought of Demi Moore instantly. Richard Fleeshman as ‘Sam’ fared less well however: He certainly looks good in the role but is let down somewhat by a voice that isn’t consistent; he breathes most of the lower notes, rendering them almost inaudible, and it seems that, at times, he is fighting with the higher notes. In his mid-range, though, he is quite effective. Otherwise he is generally believable throughout if a tad one dimensional at times.

Sharon D Clarke normally plays ‘Oda Mae’ but I saw her understudy Lisa Davina Phillip instead who played the role for every laugh possible. She had the entire audience in stitches and sang with an energy that stole every scene she was in. Hers is a role that contrasts with the more subdued leading characters and that contrast was well played. 
I also saw the understudy ‘Carl’; Paul Ayres seemed to be trying too hard and as such his character seemed to be a little bit of a caricature when compared to the others. I hope that as he performs the role more he will settle into the part. I was a trifle disappointed not to see Andrew Langtree in the role but such is life. The supporting characters were excellently played and the company performed well.

Matthew Warchus’ direction is fluid, sharp and his manipulation of the stage as a whole is amongst the best I've seen. Some of the more dramatic moments, however, feel a tad rushed and leave the audience with little time to empathise with the people they are watching before quickly moving onto the next piece of action within the scene. It is also worthy to note that the iconic pottery wheel moment is referenced to but in a clever way that is not a mere rehashing of the film’s scene. In fact it becomes one of the most honest and emotive points in the show.

Overall this is a most enjoyable show and certainly something special to experience live and I do believe this will appeal to an audience of a vast variety and I expect it to last a fair while in London.

'Priscilla Queen Of The Desert', Palace Theatre, London, 17/11/11

So, at long last, I got ‘round to seeing ‘Priscilla’ onstage. And boy am I glad I did! It is precisely the kind of show that is needed in these gloomy times where one enters the theatre and forgets about every trifle that the real world can throw at you.

The plot is pretty much that of the film - Sydney drag queen recruits two other performers for road trip for a performance engagement in Alice Springs with a few surprises along the way – though the staging is overtly theatrical and heightened but, even in the most ‘straight’ of scenes, never fails to capture the audience. Underlying all the camp, glitter and fun is a story about friendship, love and ‘coming of age’.

The production has an engaging concept with the show being a huge, elaborate, drag show that exudes an energy that grabs you from the opening announcement and glitter ball and refuses to let go until long after the curtain falls. I don’t think I’ve ever smiled and laughed as consistently as I did in the Palace theatre watching this show. The show is almost pure joy and happiness.

The cast were brilliant with Tristan Temple as ‘Miss Understanding’ setting the standard for the evening with her ebullient performance and quick asides. Oliver Thornton clearly relished his once-in-a-lifetime role as ‘Felicia’ and Don Gallagher was equally at home as ‘Bernadette’ and, whilst I was initially disappointed that there were several understudies on during the performance (Lucy Newton as 'Diva', Olivia Phillip as 'Shirley', Newley Aucutt as 'Tick/Mitzi' and Tristan Temple as 'Miss Understanding'), Newley Auckett , in place of Richard Grieve (who I would love to have seen), was a very sincere and truthful ‘Mitzi’ and not one cast member could be seen as a weak link and the ‘Divas’ were certainly guilty of being fabulous in all respects. Ray Meagher was also perfect as ‘Bob’ and was welcomed on almost all his entrances by cheers from the audience. The entire cast was almost upstaged, however, by the appearance of a little boy in a kangaroo suit in the finale where the large feet  caused him to waddle about the stage in the most adorable and cute way. Awww indeed.

I cannot understand how this show can be closing though, evidently, it must be declining from the producer’s point of view. All I can hope is that it has a life in the UK beyond the West End with, hopefully, a tour at some point to further spread joy. In the meantime, if you can, go and see it!

'Love Never Dies', 20/8/11, Adelphi Theatre

I was never enamoured with the idea of a sequel to 'The Phantom Of The Opera' but when the album of 'Love Never Dies' emerged I was entranced by the score. It had its clunky moments but it certainly included some of the best material Andrew Lloyd Webber had written in years.
The evolution of the musical is well recorded and it had been revised several times over its opening year with the final version being quite different to the original album complete with revised book, lyrics and song order.

Though I never saw the opening version it is clear, just by listening to the album and comparing it to the final version, that the revisions were almost all for the better (I say 'almost' because they cut a short phrase that Christine sings following her confrontation with the Phantom which I always thought stunning. Its extraction from the score does not affect the whole though.) with the music certainly flowing better with more references made to the original 'Phantom' show.
The entire cast was sensational with Tim Walton playing 'Raoul' as a well rounded, and tragic, figure whose inner demons are destroying his life. Ramin Karimloo's 'Phantom' is powerful and, at times, pathetic, with a soaring voice. Karimloo's performance is well judged, emotional and precise with the addition of certain gestures and movements an echo of the first incarnation of the 'Phantom' as seen in the original show.

Haley Flaherty as 'Meg' is both childlike and world-weary presenting another precisely pitched performance. the same can be said of Liz Robertson as 'Madame Giry'.

Celia Graham plays 'Christine' with such grace and ease that she is almost otherworldly, as she should be. She presents a matured mother with an underlying echo of the naive child seen in the original show. Her voice is clear and beautiful, her diction sharp, yet, as her climactic aria arrives, she proves she has even more to give. Graham's is a well paced and polished performance and her vocals climax at the perfect moment when she delivers the title song; here 'Christine' rediscovers herself and her voice soars as never before enthralling the audience and mesmerising all.
The chemistry the primary trio has is also palpable and throughout the show there are moments which are so well presented by the cast that it is almost overpowering to behold.

The emotional power of this show was such that from the opening song sung by Karimloo's haunted 'Phantom' I was on the verge of tears. Throughout the remainder of the show there were many moments where the hairs on my entire body were on end until, finally, as Graham performed 'Love Never Dies' coupled with its simple, effective staging, the tears began to flow right through to the incredible finale.

The design is impressive, although a little stark at times, whilst the lighting and sound are quite perfect. The orchestra, conducted by David Steadman, sounded incredible and served the score perfectly.
It is a shame indeed that this show has had too brief a run as it does indeed deserve further intention but I am so happy that I managed to catch it before it closed, especially given that the finale was revised slightly only a few days before given the 'Phantom' the chance to recount what he wrote and what 'Christine' sang, reinforcing the emotional climax more powerfully.

This musical is probably the most emotionally engaging event I have ever witnessed and though the plot is more a sequel to the 2004 film rather than the 1986 musical the emotional journey is worth the ride alone.
Sad though the closing is, I can, at least, look forward to the future DVD release of the Australian production of 'Love Never Dies' which boasts totally different direction and design (which truly looks amazing). Nevertheless, witnessing the cast that I did, I am haunted by the London production and feel that it will be one of those theatrical experiences that will live with me for ever.