"Made In Dagenham - The Musical", Glasgow King's Theatre, 23/2/17

Despite positive reviews the original West End production of "Made In Dagenham" had an unfortunately short life  (one of several that season) which is an indication of how precarious and challenging mounting a musical and garnering an audience for it can be. Sometimes it is simply a matter of timing and I think it fair to say that this amateur production is timely indeed.

The plot is based on the real-life episode of the female population of the Dagenham Ford car plant rising up to demand equal pay in 1968. Centred around machinist Rita O'Grady, her family and her co-workers the musical deftly portrays the difficulties of such a venturing at that particular time (some may wonder if it is any easier to rectify similar disputes in the modern age).

The book by Richard Bean is lean and precise with barely an excessive moment throughout, although it is peppered with the occasional appropriate f-word. Humour is readily available throughout also and this is also true of the alternately witty and poignant lyrics of Richard Thomas. The music is by Grammy and Emmy-award winner David Arnold, who also composed the musical score for the original film on which the musical is based. Arnold's score has a fittingly 60s feel which is at once comfortable and nostalgic to the listener and he creates some musically exciting and stirring moments as well as some emotional ones. I hope "Made In Dagenham" is not his only foray into the musical world.

Paisley Musical & Operatic Society is one of those companies whose productions always aim far beyond the 'amateur' status and they are one of the (sadly) fewer who are willing to take risks with their choice of musical title. Indeed "Made In Dagenham" is certainly one of those. It is a musical which had a short run in London based on a small British film. It has never had a professional UK tour so, as a title, it is really quite unknown to most audiences. Thus selling such a show was an up-hill struggle from the off. But, nevertheless, PMOS elected to take on the challenge.

Artistically the gamble has paid off as the production can resolutely claim to be among the best type of so-called 'amateur' theatre (it's only amateur because the cast don't get paid, after all) and indeed is better than a number of professional productions I have witnessed.

Alasdair Hawthorn's direction is, typically, adroit and he is not one of those to stay safe with his choices, something which can be the worst aspect of 'amateur' theatre. Hawthorn is also well versed in the use of space and lighting, again aspects often overlooked in am-dram. The choreography of Marion Baird is another aspect that gels with the other aspects of the production and has nifty homages to the 60s throughout. Sean Stirling's musical direction is solid and he has molded the orchestra into an integral part of the fabric of the production.

There are times when the transitions could be handled more deftly and the sound levels could be adjusted to ensure the orchestra doesn't overpower the vocals at times, but these are really only minor quibbles in an otherwise sterling production which really has a rousing effect on the audience.

The casting of the production is probably the best I've seen on the amateur circuit with an ensemble who breathe vivacious life into each and every role onstage. Enterprisingly led by Carolyn Lowry as "Rita O'Grady" and featuring dynamic performances from, among others, Laura Moore as "Beryl" and Lindsey Ross as "Barbara Castle", the show is littered with enjoyable, energetic performances. And one has to mention the "Harold Wilson" of Raymond Morrison which is one of the many comedic highlights that run throughout the musical along with Blair Cruikshank's Trump-like "Mr Tooley" who delivers the rousing "This Is America" with glee.

A truly female-led show, but one that does not ignore the male element, "Made In Dagenham" has a dynamism and electricity amongst its cast that is rare and they are all, equally, the driving force (pardon the pun) of a punchy, principled musical that has much to say. Even today.

Given the impressive production it is inevitably sad to see that there were a number of empty seats in the auditorium. True, the musical may be a hard sell as discussed above, but it seems to be a growing trend in amateur theatre (hell, even modern productions are feeling it). We live in hard times and theatre is not a cheap night out, but without local support the amateur companies of this country are slowly fading into history. 

Amateur theatre, in all its forms is an essential part of our artistic integrity and they are often the birthplace of a life-long love of the arts. They are more than entertainment: they are social groups, support networks and even a form of counsel. The shy person is encouraged to break out of their shell, the unconfident are given a the opportunity to give themselves a voice, an outlet for their imaginations.

The numerous groups that populate the British Isles are often bastions of theatre, keeping the art alive in areas that don't necessarily have access to professional, commercial theatre. They also keep older and less-performed works alive, be it 'straight' plays or musicals. How often is "The King And I" revived by a professional producer? Without these often and unfairly looked-down upon companies the very history of theatre would be confined to the dusty pages of some momentous tome in the libraries of historians. 

Likewise these companies also take the risk of presenting a recent play or musical that may not have had the success it deserved in its first production but in doing so breathe new life into a work that otherwise would have have been dispelled to the gutter. As with "Made In Dagenham" part of the problem is familiarity - an unknown quantity is made known only by awareness. I'm sure as more and more productions pop up "Made In Dagenham" (and other similar "unknown" titles) will enter the popular field and future production will draw bigger and bigger audiences. But to that end these companies have to continue to exist and they can only do so with the support of the local (or not) audience. Theatre in all its forms enriches us and I urge all to take a similar risk as these companies take and once in a while buy a ticket (cheaper than a "professional" production in all cases) to a little-known show and go with an open mind. Who knows but that you may discover a new favourite play or musical?

Rant over. 

For now ...

Thoroughly Modern Millie, Glasgow King's Theatre, 6/2/17

Written for Backstage Pass:

http://www.backstagepass.biz/2017/02/theatre-review-thoroughly-modern-millie.html

Based on the 1967 Julie Andrews film of the same name, "Thoroughly Modern Millie" tells the story of Kansas girl "Millie Dillmount" (Joanna Clifton) who moves to New York in the 1920s in order to become a "modern woman" and marry for money rather than love. Along the way she  falls for the penniless "Jimmy Smith" (Sam Barrett) and must foil the dastardly scheme of "Mrs Meers" (Michelle Collins), whose hotel for young girls is a front for her enterprising business of human trafficking.

The nature of "Thoroughly Modern Millie" demands that the production be one that zips along with punch and is in possession of zap and pizzazz but, sadly, the show, in the first act at least, lacks something of this. For this reviewer, it seems that the production fails to build momentum; it's as if director Racky Plews is unable to move the production only rarely out of first gear and this has the effect of imbuing the act with an unfortunate sense of lethargy, despite the energetic cast. Fortunately, the same cannot be said for the second act which kicks into the higher gears more assuredly and which begins to show evidence of the zip and zap that is mostly missing before the interval.

 
The design elements are perfectly adequate for the production and the choreography (also by Racky Plews) is enjoyable whilst the small band manage to produce a well rounded sound, though it did overpower the vocals at times. It's also a shame that the orchestrations weren't rewritten to suit the production better (the use of synthesised strings is never a good idea).

The cast are the exception here, performing with an energy and verve that the production, in general, lacks. There is not a real weak link among them and one gets the sense that this cast is deserving of a superior production of "Thoroughly Modern Millie" in which to truly utlilise their given talents. Still, there are performances which, overcoming the limits of the production, excel: Jenny Fitzpatrick is a vivacious "Muzzy Van Hossmere" and possesses a dynamic voice while the "Mrs Meers" of Michelle Collins is suitably villainous and scheming. Damian Buhagiar and Andy Yau, "Ching ho" and "Bun Foo" respectively, bring humour and charm to roles which are nothing more than racial stereotypes while Katherine Glover, complete with a clear soprano voice, is endearing as "Miss Dorothy Brown". Sam Barrett cuts a dashing figure as "Jimmy Smith" and is blessed with a lovely vocal quality and his presence and chemistry with his leading lady is readily in evidence. As the titular character, Joanna Clifton proves herself as a more than capable musical comedy performer; she has a quality voice and her dancing ability is beyond question (as one would hope in the most recent winner of "Strictly Come Dancing") and she leads the company confidently. But special mention must be made of Graham MacDuff who plays "Millie"'s initial target, "Trevor Graydon"; his comedic talents are sublime and his voice and characterisation are of equal standard coming into their own throughout the second act where he all but upstages the entire company. Indeed the whole company thoroughly make more than the most available to them.

"Thoroughly Modern Millie" is still an enjoyable production, but one in which the whole is not necessarily the sum of its parts. Though the production is wanting in certain aspects it is ultimately saved by a cast who rise head and shoulders above what is required of them and they are, perhaps, worth the entry fee alone.

Hope

Given the current political climate the world seems to be enduring I thought it appropriate that my first post of 2017 should be the following image:

This is the Sindarin word 'estel' which, in English, translates as 'hope'.

And, boy, do we need it ...

Merry Christmas and a Happy New Year

Sharman Prince offers their best wishes for the festive season to one and all ...

See you in 2017 if not sooner ...

"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!'

The Shawshank Redemption, Glasgow Theatre Royal, 21/11/16

Written for Backstage Pass:

http://www.backstagepass.biz/2016/11/theatre-review-shawshank-redemption.html

Falsely imprisoned for the murder of his wife and her lover, Andy Dufresne faces years behind bars at Shawshank prison where he will encounter both uplifting joy and vicious horror at the hands of the various inmates and prison officials, including the enterprising Red and the corrupt Warden Stammas. Andy comes to find an inner strength and resolve and discovers that the true meaning of freedom lies within the unbroken spirit.

Based on the novella "Rita Hayworth and Shawshank Redemption", from Stephen King's "Different Seasons" collection, and the 1994 movie, the theatrical version of "The Shawshank Redemption" is adapted by Owen O'Neill and Dave Johns and uses material drawn from both sources so feels fresher than if it were based solely on one or the other. The script is rather episodic in its telling of the plot and can seem a little heavy on the exposition at times which can be a little lazy and tiresome to watch. 

David Esbjornson's direction seems at odds with the episodic storytelling and his more naturalistic approach extends into the design of Gary McCann with these elements combining to create some uneasily paced moments onstage with the momentum often stalled and restarted, though this is more or less rectified following the interval to the benefit of the production. But together with the presence of dead space on the stage and cumbersome, slow transitions this all adds up to uneven staging and one wonders if a more abstract, Brechtian approach would be a more appropriate storytelling device. 

More successful was the lighting design of Chris Davey and the sound design of Dan Samson which was aurally effective and well balanced with great choices in the music selections played throughout the production (used to cover scene changes or to denote a change of era). 

Paul Nicholls as 'Andy Dufresne' is an attractive lead but his performance is unsure and is played at a stuttering pace in the first act. He does improve greatly in the second act, however, and begins to come into his own by the end of the play. Ben Onwukwe as 'Red' is far more successful, handling the exposition easily. His is the true central role and it is through 'Red' we come to know the other characters so Onwukwe's performance is the most important in the play. Thankfully he is adept at the task and, though a trifle restrained by the occasionally clumsy piece of direction, is deftly able to bring the audience along with him as the play progresses. As 'Warden Stammas', Jack Ellis is underused and is never really given time to make the impact required of the character. In the moments he has, however, he makes the most of them and is able to project the necessary elements of the role.

In what is, for all intents and purposes, something of an ensemble piece the remaining cast members are a boon for the production and they are essential in keeping the stage alive with each character a unique figure in a world that could easily be populated with non-entities. Andrew Boyer's moving 'Brooksie', Daniel Stewart's strong 'Hadley' and Nicholas Banks' energised 'Tommy Williams' are among those who make an impression but the whole ensemble is a strong and vitally necessary one.

"The Shawshank Redemption" is sadly let down by serviceable direction but performed by a cast that, for the most part, rises above this limitation to perform a script that shows real promise which, given a little revising, deserves a more appropriate staging. "The Shawshank Redemption" deserves better and hope springs eternal.

"Little Shop Of Horrors", Glasgow Theatre Royal, 16/11/16

The popular cult musical makes a welcome return to the UK touring scene more than five years after the previous tour (produced by the Menier Chocolate Factory) in a brand new production co-produced by the dynamic Sell-A-Door theatre company.

Telling the tale of Skid-Row florist 'Seymour' (Sam Lupton), his love for the dizzy 'Audrey' (Stephanie Clift) and the magnetic plant he calls 'Audrey II' who turns out to be a blood-devouring creature from another world. Based on the 1960s Roger Corman film and featuring songs by Disney legends Alan Menken and the late Howard Ashman (who also wrote the book and directed the original production) the musical is an affectionate homage to the B-movies of yester-year and the musical styles of the 1960s.

Sam Lupton is a perfect 'Seymour' capturing his charm, awkwardness and devoted passion for the girl he works with. He is heart-breaking at times and effortlessly delivers a dynamic central performance that centres the production with a real sense of humanity. His appearance covers both the ideals of the geeky nerd and the geek-chic that allows us to believe that 'Audrey' could fall for him (as the audience must surely do).

As 'Ronnette', 'Crystal' and 'Chiffon' - essentially the greek chorus of the play - Cassie Clare, Sasha Latoya and Vanessa Fisher are pretty damned perfect and each possess powerful vocals and engaging stage presence.

The 'Mushnik' of Paul Kissaun is also welcomely underplayed with a very measured performance and vocal quality to match.

Headlining the tour is Rhydian Roberts who excels as' Orin Scrivello (DDS)' and other characters. His performance is dynamic, animated and he is able to adapt his vocals to the various persons he plays but as the sadistic dentist he is another perfect piece of casting. With each new production Roberts undertakes his acting becomes stronger and stronger and here he shines stunningly.

Stephanie Clift is not entirely successful as 'Audrey' in that hers is a somewhat uneven performance despite her rich voice. The problem really lies with the comedic elements required for the role - there are moments where her control of the comedy is perfect and others which miss the mark. That said she is still endearing to behold and her chemistry with Lupton is palpable.

Of course the major centre point of the show is 'Audrey II' herself and the puppet design is attractive and the performance especially alluring with puppeteer Josh Wilmott expertly controlling the larger puppets with apparent ease and gracefulness of movement confirming believability in the creature.

Tara Wilkinson's direction, whilst successful in most areas, does lack a complete understanding of the relationship between comedy and timing and she doesn't adequately mine the comedy gold inherent in the script and lyrics and she allows moments to pass by unmarked. For example; during "Somewhere That's Green" we are treated to the only use of projection in the production to illustrate the daydreams of 'Audrey' which, whilst charming to look at, does detract from the central performance of Clift as 'Audrey' which is where the audience's attention really should be focused rather than on the staging which it is at present. This, I feel, is partly the reason for Stephanie Clift's problems. Wilkinson could also do with re-examining the pace of the show which is near-hampered at times by some uncomfortable transitions and her staging does also have its clumsy moments and this is partly due to the comic design of David Shields which, whilst appealing to the eye, does create some awkward staging situations. The lighting of Charlie Morgan Jones also suffers from the odd misstep with certain corners of the flower shop often in some inappropriate shadow. All three of these production aspects are inextricably linked and it is testament to the strength of the writing and the strong cast that, for the most part, the show remains a powerfully engaging and enjoyable production. Matthew Cole's choreography is precisely attuned to the show and becomes so natural to the production that one forgets its existence as 'choreography'. The tiny band that performs the musical score is an exciting one and the musical direction is assured even if one or two of the numbers could do with a slightly faster tempo.

Despite the (very) few unsuccessful aspects of the production 'Little Shop Of Horrors' doesn't fail to entertain and is replete with a score and script that still feels fresh and engaging. This production is ultimately a fine presentation of a show that really does deserve to be seen more often than it has been in recent decades.

"Million Dollar Quartet", Glasgow King's Theatre, 14/11/16

A review composed for Backstage Pass:

http://www.backstagepass.biz/2016/11/theatre-review-million-dollar-quartet.html

Memphis, Tennessee, December 4th 1956. At the Sun Record Studios rock and roll history is made as Jerry Lee Lewis, Elvis Presley, Carl Perkins and Johnny Cash serendipitously converge and engage in an impromptu jam session which will go down in rock and roll history. Written by Colin Escott and Flloyd Mutrux, 'Million Dollar Quartet' dramatises this event and is a celebration of rock and roll music and the greats who performed and lived it. 

Each of the quartet members plays and sings live and their talent is a wondrous thing tobehold, each inhabiting their roles with unbridled energy, especially Martin Kaye as 'Jerry Lee Lewis' who is outstanding in the part, bringing much comedy along the way together with outstanding skills on the piano. Matthew Wycliffeas 'Carl Perkins' also shines with his portrayal of the professional rivalry Perkins has with the other quartet members is another stimulating aspect of the production. Ross William Wild and Robbie Durham, as 'Elvis Presley' and 'Johnny Cash' respectively, are equally gifted and all four are exciting to watch. Katie Ray makes a sizable impact as 'Dyanne', the only woman onstage, and her voice is dynamite. The cast are expertly supported by Ben Cullingworth on drums and James Swinnerton on bass.

As the emotional core of the drama, Jason Donovan as 'Sam Phillips' maintains a strong presence amongst the excitement going on about him and he is able to centre the production whilst appropriately delivering the bulk of exposition; his central part in the culmination of the dramatic events enables its convincing execution to an emotionally appropriate end. If acting really is about re-acting then Donovan has nailed it in a role that utterly demands it.

Whilst a sizable chunk of the script by Escott and Mutrux serves as exposition and back story for each singer - threatening to become little more than linking material in doing so - it does become more dramatically resonant in the second act enabling the show to reach an appropriately sombre ending satisfyingly lifted by a rousing rock-out-finale that leaves the receptive audience on a high. 

Ian Talbot's direction is unfussy and clear, serving the script fittingly whilst allowing his cast to bloom and thrive and David Farley's compact unit set of the Sun Records Studio serves and functions well and is complimented by a sharp lighting and sound design, by David Howe and Ben Harrison respectively, that can barely be more appropriate for the production.

True, the script is a bit contrived at times and deserves more of a solid structure throughout but the musical quality and the cast make 'Million Dollar Quartet' a rousing, energetic production that seeks to risebeyond the ordinary jukebox musical, adding a dash of humanity and drama in the telling of a real-life event.

And it succeeds much better than expected. Much!