Theatre Review: Secrets - The Musical

Image Source:
Epstein Theatre

Written By: Seán Fitzsimmons

Format: Musical
Genre: Comedy
Date: May 12 2017
Location: Epstein Theatre, Liverpool, England

Set in Liverpool in 2017, Mersey Entertainment Agency is faced with a double-edged sword. The request to organise a show for a millionaire's birthday party is as exciting a prospect, as it is fraught with danger.

As owner of the Agency, Larry (John McGrellis) continues to be at the mercy of 'Metal Mick' (Danny Taylor), and he is caught between his threats and the objections of Liz (Nicole Barber-Lane). Will he choose to yield to fear or loyalty?

The arrival of an American journalist (Izzi Field) stirs things up and soon her questions are stirring hearts, as well as painful memories.

There are many secrets to be unearthed in this musical-come-comedy and while some of the humour is panto-esque and goofy, the show is very much a lot of slap-dash banter and manic dancing.

Izzi Field's vocals are worth a mention and at times her notes are melodic and crisp. Her solo pieces are much better delivered than the duets, but nonetheless there is much sincerity to be seen in all songs. Sadly, the combination of finding it difficult to hear the lyrics and the nervous on-stage chemistry, made some scenes hard to watch.

While this show may not necessarily be hailed as worthy of five stars (or even three), there is always something endearing about grassroots performances and for the younger cast members, their energy and enthusiasm must be considered.

With some awkward set transitions and quirky attempts at funniness, this show may not be everyone's cup of tea. The show at times gave the impression of a dress rehearsal that wasn't really being taken seriously.

Secrets isn't necessarily trying to be something it isn't, and maybe that in itself is a message it does well to deliver.

Overall Rating: 6/10 - Reasonable

The Rocky Horror Picture Show

Image Source: Ents 24

Written By: Mark Armstrong

Format: Musical
Genre: Comedy
Date: October 18 2016
Location: Liverpool Empire Theatre, Liverpool, England

So, I walk into the theatre for the show. I get a drink to see me through the night, I go the loo to make sure I don't need to get up during the performance, and I take my seat as I see people walking past in fishnet tights ... and leopard-print Speedos ... and, in one case, a gentleman of several decades walking his presumed-wife to their seats whilst keeping her attached to a dog collar, wrapped around their wrists. (To which I remarked to my guest, "Imagine walking around Asda like that!")

Welcome to The Rocky Horror Picture Show.

As the opening lyrics of its feature song The Time Warp say, "It's astounding". For me to explain the plot would be a bit of a spoiler in this case, as well as it being such a complex process that you may be thinking that I'm describing an episode of Doctor Who rather than a theatre show. So, rather than recapping the plot, I'll explain certain aspects of the show itself.

There is a Narrator, who moves the plot along whilst contributing with some ad-libbed one-liners. There are a lovely, newly-engaged couple (Brad and Janet, played by Richard Meek and Haley Flaherty) who are looking for help to get home, whose mannerisms and voices are akin to a fairy tale. Oh, but this is very different to a fairy tale, my friends ...

Because there are also aliens, humans who have been genetically created in a laboratory (Rocky, played by Dominic Andersen, is the character who sports the aforementioned leopard-print Speedos), transsexual lunatics who are literally willing to do absolutely anything to anybody, ray guns, scary castles, doctors, sexual acts - a fair few of them, actually - a plethora of catchy songs, some nifty and extravagant dance routines, audience interaction which resembles an episode of WWE Monday Night Raw more than theatre (to the point where I was almost expecting "What?" chants; if you're not a wrestling fan, that reference will go over your head), flashing lights, stunning settings creating a very effective haunted house back-drop, a variety of outlandish costumes which would fit in at a Hugh Hefner garden party (with the audience sporting attires inspired by the characters on-stage), a (very talented) band, and more double entendres than you can shake a stick at, with many coming from the bleachers (who had clearly done their homework). Case in point: when one character is told to prepare for the biggest test yet, certain member of the audience replied - well, I won't say the exact word, but it lacks one of the letters which forms the term "banal". Catch my drift?

Unlike most shows, the performances and even the story take a back seat to the sheer lunacy that unfolds on stage - but that is a good thing. It's clear within the opening minutes that we're not meant to take anything seriously, that we shouldn't question the logic or why this character would behave in that manner. It's like a release, a show where you can forget about all aspects of your everyday life and just sit back and enjoy the ride that Rocky Horror takes you on. It wouldn't be accurate to say that it brings your fantasies to life - I can't imagine everybody watching has dreamed of doing some of the things we see here - but it definitely transports you to another place, almost another universe, where the chains are off and anything goes. So, it all seems really far-fetched, and nothing really makes sense - but the show is all the better for it, because nothing is off-limits. It's so outrageous and unpredictable that you won't be thinking about the plot when it's all said and done, you'll simply be thinking "Wow!" In a nutshell, it's a show that you won't soon forget.

That being said, the performances are very good, especially from Liam Tamne, who throws himself into the role of Frank N Furter with such gusto that one may not be able to separate the performer from the character. Steve Punt does a nice job as the Narrator too: despite infrequent appearances, he provides the one remaining piece of sanity in this OTT environment, and his interaction with the crowd leads to some great back-and-forth banter. It's also funny to see how Brad and Janet's characters, previously the normal, soon-to-be-happy couple who are as sweet as silk, are slowly immersed into the craziness in which they find themselves, and end up succumbing to some of the more - ahem! - tantalising desires of Frank. It's not the way you would normally celebrate an engagement, but I'm sure the characters involved had a good time. And the cast appears to be having a load of fun, too; it's like a pantomime, but with (tons of) sex references.

But it's the audience who have the best time by far, and it's their involvement that makes this an even more unique experience. The usual theatre manner is to listen and watch, laugh if you feel the urge to, clap when it's appropriate, and that's it, really. Here, you can be mistaken for thinking that the audience are hijacking the show at first, but harking back to the panto aspect, the show is designed for the audience to shout the most obscene words at particular points. Obviously, the movie and previous productions of the show have influenced the crowd on what to say and when, but it's mesmerising to see it happen so much, and for the heckles to be so rude, and yet so funny. One example was when one lady wearing very little clothing stretched in a flirtatious manner, which led one attendee to shout "Where've you been all my life?" Don't expect to hear that at the next performance of Wicked (or at most other shows, for that manner).

Other notes: the lighting was excellent, with the colourful spotlights ensuring a range of vibes during particular scenes, and which no doubt contributed to the occasional disco-feel within the audience. The settings were very effective too; you felt that you were in a proper haunted house when we were taken into the castle, and there was a real mad-scientist feel to the laboratory too. (I noticed that the curtain rigs were constructed in such a way that they looked slanted, which I have to assume was the intention.) The show was a little on the short side, coming in at two hours including the intermission, but perhaps it was for the best: the show flew by, and every scene was of consequence, ensuring that no moments overstayed their welcome.

Rocky Horror is definitely a niche show. The strong sexual content certainly won't be to everybody's tastes, and even for those who don't mind a flurry of sexual references, a lot of people may come along and simply wonder what in the world is happening before their eyes, perhaps believing that they've overdone it on the wacky backy (I've always been clean as a whistle, so fortunately I wouldn't have such issues).

That being said, it definitely attracts a particular audience, a cult audience; and that cult audience hangs onto every word and is well into every single aspect of the show, from the key moments to the tiniest details. And there are plenty of laughs to be had, some due to shock value, and although aspects of the story can be hard to follow, it's impossible not to be engaged on some level to the, quite frankly, nuts behaviour of the lead characters. Oh, and the songs are very catchy, as are the associated dance moves, so you should be fully prepared to pull off The Time Warp when you're out in Popworld next weekend (hey, next weekend is Halloween so you could even go out as one of the Rocky Horror characters!).

The Rocky Horror Picture Show is a true anomaly: a show which definitely exists in its own parallel universe, but one which provides so much to digest and such a diversity of characters, situations and one-liners that it is one of the most memorable theatre shows that you are likely to see. As an overall production, few evenings at the theatre are more entertaining than The Rocky Horror Picture Show. Just think twice before you decide to come to the theatre rocking a pair of leopard-print Speedos.

Overall Rating: 8/10 - Very Good

Sister Act

Image Source: ATG

Written By: Mark Armstrong

Format: Musical
Genre: Comedy
Date: October 10 2016
Location: Liverpool Empire Theatre, Liverpool, England

Based on the 1992 film, the musical version of Sister Act tells the same story as the movie, with only some minor changes at certain points. After Deloris Van Cartier (Alexandra Burke), a singer as part of an up-and-coming band, witnesses her former boyfriend and band mate Curtis (Aaron Lee Lambert) shoot a fellow band member to death in anger and frustration, Deloris confesses about the incident to the local police department. In order to protect her safety and identity, she is sent to the local church, with the idea of her simply hiding out there for a period of time. But her loud, boisterous and outspoken, yet largely positive, nature riles up Mother Superior (Karen Mann), whose quiet, conservative and traditional approach to the running of the church and the guidance of the nuns is a great contrast to the lifestyle of Deloris. Partly to protect her and partly in an attempt to try and change her ways, Mother Superior transforms Deloris into Sister Mary Clarence.

After a near-miss when Deloris/Clarence ventures to a local bar, with several nuns following her as back-up and with her arch-nemesis and co in attendance (she only avoids disaster when her identity is confused with that of a local drag queen), Mother Superior is furious, and feels that the only way to keep an eye on Deloris/Clarence is to take advantage of her musical skills and have her join the choir band with her fellow nuns. I should mention that the vocal skills of the nuns are like hearing cats screaming, or something akin to a bad X-Factor audition (sadly for the X-Factor hopefuls, the performers in this show are deliberately singing badly). That all changes when Deloris/Clarence joins them and, soon, they become a genuinely talented and exciting choir band, although Mother Superior is further ruffled by the fact that the band use not-so-religious dance moves and the use of funky instruments, which is far from the gentle, holy nature of regular choir music. Yet it brings in larger attendances for masses than ever before, so much so that they are set to perform in front of the Pope. However, Curtis and friends are edging ever closer to finding Deloris, due to her fame rising, and Mother Superior looks to seize any opportunity she can to remove Deloris/Clarence from the church, which helps to set up a climactic finale. Oh, and there's "Sweaty" Eddie (Jon Robyns), a local police officer who helps to protect Deloris, but who also has a secret to tell her, dating back to their days together in college.

As you may have gathered (which you definitely will have if you have seen the movie), the show is pure comedy. The story has the potential to be fairly blasphemous, although the message is made clear that if the unusual and contemporary version of church music results in more people coming along and being able to pray and stick to their religious values, then the alternative approach to the choir has to be to the benefit of the church. That aside, one should really enjoy this: it is a feel-good, intriguing, entertaining and largely easy-to-follow show.

The highlight of the show is undoubtedly the outstanding Alexandra Burke in the role of Deloris/Clarence: she is entirely believable and comfortable in the role of Deloris, understandable given her own real-life singing talents, and she transitions seamlessly into the role of Clarence when the more religious aspects of the character are brought to the forefront. She also has a flair for comedy timing, as evidenced by some humorous one-liners when speaking to Mother Superior. But it is definitely her singing performances which illustrate why she is perfect to play the central character here: an extremely talented performer who has taken to the theatre stage so naturally that she could succeed in virtually any role, Burke proved here and in her previous role as part of The Bodyguard that she has a very bright future in the world of theatre.

That being said, the supporting cast of nuns are also strong performers. For instance, Rosemary Ashe - who has a very loud-mouthed approach of her own - is effective as the previously tuneless Sister Mary Lazarus who suddenly "gets it" in regards to her pitch and tone during songs, as well as demonstrating her flair for the trumpet. Sarah Goggin is also very good in portraying the postulate Sister Mary Robert who is young and timid, but has a more outgoing side that her profession is hiding somewhat, which only comes out during performances alongside Deloris. The multitasking by performers to serve as both singers and musicians is also an interesting and welcome addition to the show's big musical performances, and there is further humour to be found by Curtis when she sings a love song that begins with him expressing his devotion to Deloris before detailing his methods by which he plans to kill her. And Mother Superior, Karen Mann, is effective as the keeper of past traditions, but only when it suits her, which leads to some funny moments when her own values are called into question.

There aren't too many negatives to this show. It ran a little long for my liking, but not to a massive extent. I did find the tying up of the various story arcs (without spoiling the details) to be a little confusing, at least in the initial execution as opposed to the actual final outcomes. And at times the dialogue was slightly hard to hear, meaning that some key exchanges could be missed by those who were hard of hearing. Finally, there weren't any familiar songs which would be easily identified with the show, or at least the original movie. Otherwise, though, there isn't anything else in the way of potential improvements that I could suggest.

Elsewhere, the set designs are fabulous; not only does the church back-drop feel authentic, but there is attention to detail with the layout and the lighting of the setting, and certain aspects of the church walls play an unexpected role later on (one example being a secret cupboard for some, erm, refreshments for Mother Superior). The music and the use of discoballs during bar scenes, along with discoball-esque lighting of the audience during advanced dance routines, help to create an authentic 1970s disco vibe (the story is set place around Christmas/New Year's of 1977).

If you watched the movie and loved it, then you'll get a real kick out of this. Even if you haven't, though, Sister Act is a really entertaining, feel-good and fun slice of theatre, and the enjoyable story combined with the strong all-round performances, particularly from Alexandra Burke, make this one of the stronger shows of 2016.

Overall Rating: 8.5/10 - Excellent

Annie

Image Source: Annie

Written By: Mark Armstrong

Format: Comedy
Genre: Musical
Date: March 8 2016
Location: Liverpool Empire Theatre

Although the young children who will want to see Annie on stage will have the 2014 movie in mind, Annie itself was actually originally a Broadway musical, first performed in 1977. And the recent film adaptation is actually the third movie to focus on Annie's story: the original movie (often considered to be the best of the trilogy, if you can call it that) was released in 1982, followed by a 1999 flick produced for television by Disney, and finally the aforementioned remake from 2014.

Regardless of where you first heard about Annie, though, the main story remains very similar to that of its predecessors. It's New York City just before Christmas 1932 and Annie (Anya Evans), one of eight orphans living in Miss Hannigan's Municipal Girls Orphanage, dreams about one day leaving to find her true parents, especially since Hannigan (Lesley Joseph) treats the children terribly by forcing them to constantly work, particularly through sewing. Annie makes a failed escape attempt and Hannigan thinks that Annie is once again under her control, until a lady named Grace Farrell (Holly Dale Spencer) pops around. It turns around that the famous billionaire Mr. Warbucks (Alex Bourne) is looking to bring an orphan to live in his mansion over the winter holidays, and given the description that Grace provides, Annie is the perfect choice, much to Hannigan's chagrin.

Annie loves the opportunity to enjoy life under Warbucks' watch, and Warbucks himself wishes to adopt Annie permanently. However, Annie's real hope is to meet her real parents, and so Warbucks begins a search to find Annie's true parents using his contacts, the local radio and even President Roosevelt (played by Callum McArdle), but to no avail. The stakes are raised when Warbucks offers $50,000 if Annie's parents resurface, which offers the unscrupulous Hannigan and her two equally incorrigible friends Rooster (Jonny Fines) and Lily (Djalenga Scott) an opportunity to try and deceive their way to the five-figure prize. It all leads to an eventful 24 hours over the Christmas period where twists and turns lead to the truth being revealed, and with the audience discovering where Annie's future will lie (bear in mind that Annie was only sent to live with Warbucks for the two weeks over Xmas; she was required to return to the orphanage after that).

The story is simple and easy to follow, and it's clear from early on who the audience should be backing and who it should dislike. Anya Evans is great as Annie; the star of the show, she displays acting and singing talent (her rendition of "Tomorrow", which is repeated by other characters later on, is the most memorable song from the entire show), which could make her a well-known star in the future. The other children also shine during their own musical numbers (an example being It's The Hard Knock Life; not the Jay-Z version, by the way, as that one came later and is a bit too risqué for a family show), and Andie Jordan in particular is very good as Molly, the youngest of the orphans. The other characters do a good job on the whole; it's either a compliment or a downside that Lesley Joseph is unrecognisable as Hannigan due to her portrayal of the evil orphanage owner.

Slight negatives to the show are that there were some occasional audio difficulties, and unless you watched the film, you will at times not understand certain plot developments (Annie persuading the President and his associates on how to approach America's financial crisis seems far-fetched if you didn't know that this happened on the big screen too). I also thought that, for a children's show, there were too many periods of momentary silence between the characters where not much was going on, and it could have benefitted from some more genuinely funny moments to get the kids laughing. This is a show which, besides the plot, is structured around the music, and to that end Annie does a good job, especially since the songs will also keep the parents interested. (My other, own personal problem is that, a stray dog named Sandy is found early on by Annie and occasionally runs from one side of the stage to another, which is a negative due to my lifelong fear of dogs!)

There are also some fairly big differences between this theatre production and both the 1982 original and the 2014 remake. For instance, while Warbucks plays an important role on the stage, his involvement is far greater in the movies, not least for how his relationship with Grace evolves into a noteworthy side-plot. In addition, on stage, Hannigan remains a villain throughout, whereas the films see her have a change of heart just before the ending. It does, however, retain the timeline of being set in New York City circa 1932, which was used by the original film, but not by the 2014 update, which brought things to the present day. Some songs are in a slightly different order to the movies too, although that is to be expected in theatre when the story has to be adapted slightly to suit the audience's tastes. (The Disney version from 1999 is different enough that comparisons with the stage show are largely irrelevant.)

In summary, Annie is a fun night at the theatre for all the family, particularly the youngsters in attendance who will have seen the 2014 film and will enjoy seeing it come to life on the stage, as will older members of the audience who may have seen the original movie.

Overall Rating: 7.5/10 - Good

Avenue Q

Image Source: Avenue Q

Written By: Mark Armstrong

Format: Musical
Genre: Comedy
Date: February 22 2016
Location: Liverpool Empire Theatre

So, a friend asked me how the latest show to hit the Liverpool Empire was, and to summarise it in a few words, I replied: "Think of Sesame Street ... with sex."

Welcome to Avenue Q, a show which both parodies and pays homage to Sesame Street, a classic children's favourite for decades now. Some of the puppets bear a strong resemblance to Sesame characters, either from their physical appearance or from their voice. But whereas Sesame Street aims to educate young children on spelling and word definitions and the like, Avenue Q aims to emphasise the importance of some, well, different lessons of life.

This is definitely not aimed at children. In fairness, kids would find the puppets themselves to be eye-catching, but you couldn't bring youngsters to this show. The language is a bit strong at times (case in point: one character, a head teacher, is named Mrs Thistletw-t), though not offensively so, and certain themes are made light of in a darkly comical fashion; you wouldn't want little Jimmy to go around to his mates singing "The Internet is for porn", one of this show's funniest tunes. But the most adult-centric part of the show has to be the implied and at times explicitly stated sexual aspect, which is never more prevalent than the scene where two puppets actually have sex. It even gets oral when Kate Monster gives Princeton - well, you probably know what.

See, I told you this had sex in it.

But don't get the wrong impression. All of this combines to create a wonderfully humorous and extremely unique theatre experience. Whether it's the fact that you can blatantly see the men and women behind the puppets talking rather than acting as ventriloquists, the over-the-top nature of the many songs and subject matters (television monitors used a Sesame Street-like countdown to inform us of a one night stand, complete with a squeaky childlike voice), or the hilarious alternative takes on popular Sesame characters (as implied, one character named Trekkie Monster, a parody of Cookie Monster, has an unhealthy obsession with watching porn online), there is plenty going on, and if one scene doesn't tickle your funny bone, there's a good chance that the next one will.

As mentioned earlier, the show finds a darkly comical method of either explaining life lessons or highlighting some aspects of modern society that people are not willing to admit. For instance, one song is titled "Everyone's a little bit racist", which on paper spells trouble, but the light-hearted nature of the tune and the way in which characters of different origins become involved in the number actually make it one of the show's highlights. And then there's the Bad Idea Bears, who act as devil's advocate by attempting to plant the seeds for some unwise advice in the heads of several characters, from buying a case of alcohol to, in perhaps the show's most unnervingly funny moment, trying to convince a character to kill himself.

As for the puppets: all of them have their moments to shine, so I can't really rate some above the others, although the main plot revolves around the blossoming yet turbulent romance between Princeton (who is constantly searching for his reason to exist in life) and Kate Monster (who dreams of opening a school for monsters), and a slightly less emphasised storyline focuses on Nicky and Rod sharing a house together and Nicky's potential sexual persuasion.

One unexplained aspect of the show, which I suppose is part of its charm, is that some main characters aren't puppets at all; while we do see human beings clearly controlling the puppets (although you do forget they are there after a while), certain cast members are just people, period. Gary Coleman (Etisyai Philip) is one such example (incidentally, Coleman was apparently implemented as a character in the show as an example of how life can change despite enjoying fame and fortune, with the real Coleman allegedly threatening to sue the producers of Avenue Q at one point prior to his death in 2010), as is budding comedian Brian (Richard Morse), but his partner (whom he marries during the show) is arguably the star of the show. The humorously-titled Christmas Eve (Arina II), a Japanese lady, comes out with all sorts of jokes, insults and general observations which contrast with what you would expect when we first meet her, and so you are likely to remember her more than anyone else once the performance is over.

Of the puppet masters, Sarah Harlington, who manages Kate Monster, is a very good singer, and Stephen Arden does a great job of quickly evolving into a wide range of characters, each with their own different traits and voices, at the drop of a hat. The normal-looking street set remained the same throughout, but again one does not notice this because there is so much to see and hear that your eyes are focused on nothing else.

So, I would definitely recommend Avenue Q, especially if you have never seen it before. The American production seems niche at first glance, but it soon evolves into a very funny show that is bound to have you laughing, if at times for questionable reasons. It won't be to everyone's tastes and the emphasis on song might be a little bit too much at times, but you will undoubtedly have a fun time watching Avenue Q. Just don't bring the little kids along.

After all, you don't watch your son or daughter to come home asking: "Can I get a toy of Lucy the Slut?"

Overall Rating: 8/10 - Very Good

Priscilla: Queen Of The Desert

Image Source: Liverpool Echo

Written By: Mark Armstrong

Format: Musical
Genre: Comedy
Date: January 25 2016
Location: Liverpool Empire Theatre

Sometimes, you will go to a number of theatre shows and find that some productions share similar traits, whether it be in the storyline or the style of humour used or even with key events within the plot. Priscilla: Queen Of The Desert is not one of those shows; this is a very unique production with outlandish characters and various, if at times confusing, storylines. However, this does not detract from one's enjoyment of the show.

Priscilla sees three drag queen performers travelling together on a bus across Australia. Along the way, they exchange risqué jokes aplenty; engage in situations involving new flings and unwanted strangers; provide love life revelations and receive threats about their own sexual persuasions; and perform musical numbers ranging from soft melodies to extravagant dance displays.

It is clearly a comedy at its core, although those unprepared for what will unfold before them may want to beware of the strong language used throughout, including an eyebrow-raising form of graffiti designed to chase the performers back home. It's a show that will appeal to those who have been in similar situations before in regards to receiving such threats and negative stereotyping from ignorant people who ridiculously look down on them because they're not "like everybody else". For that section of the audience, this will not only be a great parody but also in some ways an emotional reflection of their own experiences, coupled with a happy ending which should satisfy all.

I particularly liked the colourful, flashy costumes used throughout the show, from Las Vegas Showgirl-style attires to interesting clothing based on animals, food products and even flowers. The settings were also cool, which included a party-style bus that transported the star characters on their journey to the big show. Simon Green shone in the role of Bernadette, with many cutting one-liners and a willingness to throw him/herself into any situation which arose. Richard Astbury also did a good job as Adam/Felicia; clearly in a supporting role at first amongst the leading trio, he would establish himself as one of the standout performers by the end of the night.

Conversely, while Jason Donovan performed well overall as Mitzi/Tick, he seemed a little uncomfortable at various points, from the opening scene when he unexpectedly stripped down to an overly-tight looking pair of Y-fronts (I could have loaned him a spare pair of boxers if he'd asked) to later scenes where he seemed a little off at times when performing dance numbers (my dance skills are atrocious so I couldn't have helped him there) to moments where his character used language that one wouldn't imagine the "normal" Jason Donovan using (no idea how I could help with that, either). I also found the plot quite hard to follow at times, with the story leaping into unexpected music scenes and side plots which had almost been forgotten.

On the whole, though, Priscilla: Queen Of The Desert was a fun night at the theatre. I wouldn't rank it as the best show that one could spend their money on, but if you want to sit back for a few hours and get some good laughs while hearing some funky tunes from back in the day, Priscilla is a good option.

Overall Rating: 7/10 - Respectable

Last Night A DJ Saved My Life

David Hasselhoff

Written By: Mark Armstrong

Format: Musical
Genre: Comedy
Date: January 19 2016
Location: Liverpool Empire Theatre

Sun, sea, sand and sex ... and The Hoff - what more could you want off a holiday-themed show?

Yes, The Hoff himself, David Hasselhoff, was a leading cast member in the show Last Night A DJ Saved My Life, a comedy musical which detailed the trials and tribulations off a teenage girl named Penny (Stephanie Webber), who is looking to connect more with her father Ross (played by Hoff) whilst also taking the first big steps in learning about love, all amidst an eventful couple of days in Ibiza, and with dad's workplace Club Nirvana acting as a setting for many of the show's key events.

The premise is that Penny is visiting her father in Ibiza, only to learn that he has a new love interest (Amber, played by Natalie Amanda Grey), one who is only a few years older than Penny. But things are not going well between Ross and Amber either, especially since certain holiday-makers often imply that they had a "great night" in his company. During this family turmoil, though, Penny falls for Rik (Shane Richie Junior), a young DJ who is also based in Ibiza.

During the holiday-based hijinks, though, we are given an insight into the dark underbelly of Ibiza: the drugs scene, which is emphasised (at least in this show) as a key hook to get the 18-30 crowd into the club. It seems that Ross knows what's going on, but business is business and therefore the proverbial blind eye is turned. But that changes when Penny falls prey to ecstasy, and from there we get several questions to ponder as the plot thickens: can Ross save his relationships with both Amber and Penny; will Penny and Rik officially become an item, in spite of reservations by Ross (particularly after the ecstasy incident); and will Ebenezer (Barry Bloxham) be taken down for his after-hours drugs business, considering that he is a master at blackmailing potential whistle-blowers?

A key element of this show is the use of music, which ranges from 80s classics (like Never Gonna Give You Up) to 90s/2000s pop hits (We're Going To Ibiza is a natural choice) as well as house and R&B tunes for the club scenes. These are performed by the cast within some nifty dance routines, and for the more nostalgic numbers, you will find yourself singing along, probably without realising it. Oh, and for the ladies, there's a homage to Baywatch (well, the Hoff's there so how could you not?) which should give you some fond flashbacks.

While the music is important, though, this is first and foremost a comedy, based more on humorous visuals and unforeseen situations than jokes (although there are a few one-liners in there, some of which are eyebrow-raising). When it comes to tickling one's funny bone, the star is Tam Ryan as José, a gentle barman who butchers the English language, leading to several funny exchanges whereby messages are misheard (one of which hovers within the zone marked "risqué"). Another side-plot sees José become one of those who have to keep tight-lipped about the drug scene, since the prospect of losing his job and being unable to provide for his mother is an unimaginable one. Stephanie and Shane are also effective portraying the budding couple, and Hoff - well, he's Hoff, so he can adapt to any situation.

Speaking of the drugs, it's surprising that the show touches upon it at all, never mind basing a big part of the plot on it and, whilst in a light-hearted way, almost glamourizing it at times. Fortunately, this is done to emphasise the dangers rather than the supposed thrills of drug use, and those watching the show should be satisfied by how this story arc is handled come the conclusion. Elsewhere, the settings were simple yet effective, although the club scenery looked very realistic; the lighting was very bright and colourful, adding to the party mood; and the graphics shown on big screens during dance numbers were very advanced and funky. This is definitely aimed at teenagers as evidenced by the music and graphics, and by the occasional references to sex (which, to be fair considering my intro line, is only suggested and never seen on-stage, which depending on your opinion is either a positive or a negative; based on the target audience, you'll get stances on both sides for that one).

The show featured a scene early on involving audience participation, which went hilariously wrong, with the José character fortunately making light of it. Unfortunately, I felt that certain members of the audience spoiled some parts of the show via catcalls, some of which were tolerable, but became a real distraction as important moments of the plot - including some with a less humorous tone - were inaudible due to some people who wanted their own voices to be heard.

Overall, though, this couldn't greatly damage what I felt was a very entertaining show, one which will open eyes as to the Ibiza lifestyle if they are unaware, one which will provide a barrel of laughs throughout, and one which will take the older members of the audience back to the 80s and 90s via some unforgettably cheesy pop tunes. Last Night A DJ Saved My Life; tomorrow night, or on another night, you should see this show, especially if you're aged 18-30.

And harking back to the beginning of this review, you'll get to see the Hoff - what more could you want?

Overall Rating: 8/10 - Very Good

Shrek: The Musical

Written By: Mark Armstrong

Format: Musical
Genre: Comedy
Date: November 26 2015
Location: Liverpool Empire Theatre

The latest big-budget production to hit the Liverpool Empire stage, in this case produced by Dreamworks, Shrek: The Musical tells the story of Shrek (played by Dean Chisnall), a large ogre, a friendly ogre, but one whose visual appearance and intimidating size makes him horrifying to many who encounter him. Having been abandoned at the age of seven, and eventually finding his home in a swamp, one day he was startled to learn that his home had been taken over by a group of fairy-tale characters, including Pinocchio, the Gingerbread Man (who is presented on a board), the Three Bears and the Three Little Pigs, by orders of Lord Farquaad (Gerard Casey). As Shrek makes it a personal mission to meet Farquaad and reclaim his home, along the way he meets Donkey (Idriss Kargbo), who despite his overly-excitable nature and occasional annoying behaviour, becomes a true friend to Shrek, and joins him for the journey.

When they meet Farquaad, though, they are informed that to get back his home, Shrek must complete a separate quest; that being, to rescue Princess Fiona (Bronté Barbé) from being trapped in a castle by a dragon. As Shrek makes his way to the castle, Donkey is held captive by the dragon, and we see Fiona grow up as she wishes to one day be rescued by her Prince Charming. When the moment finally comes, though, her joy at being set free is offset by her dismay from her rescuer being the big ogre that is Shrek. In the meantime, Donkey is saved from the dragon, although there appears to be something of a bond formed which has relevance later in the story.

The mission is twofold: Shrek is to bring Fiona to Farquaad so that they can get married, and by doing so Shrek would be entitled to then reclaim his home. But there are bumps in the road: Shrek starts to develop feelings towards Fiona, magnifying his disappointment when Fiona cannot look past his physical appearance; and we soon discover that Fiona has a secret, one which only becomes clear at night, and one which Donkey accidentally stumbles upon. Such a secret would affect Fiona's future with Farquaat, but also her relationship with Shrek, as he mishears her explanation and eventually has a falling out with both Fiona and Donkey, especially when she gleefully goes off with Farquaad upon their meeting. Shrek's disappointment gets worse when it appears that, despite fulfilling his mission, he may not actually get back his home after all.

So, there are several questions heading into the conclusion: can Shrek reclaim his home? If he does, what will happen to the fairy-tale characters? Will he and Donkey ever be friends again? And how will Fiona's secret affect a potential marriage with Farquaad, or could Shrek have second thoughts and find a way to be with Fiona after all?

The ending does a good job of tying everything together, at times in an over-the-top manner, but it is perfectly suitable for a show of this nature. After all, this is based on the very successful children's movie franchise of the same name, so it is clear that much of the content is geared towards kids. From the colourful characters to the light-hearted songs and storylines, to the deliberately ludicrous dance moves, coupled with the likelihood of a happy ending, it is a show which should definitely keep kids entertained and excited.

At the same time, it appeals to adults because a lot of humour can be found here. The standout character when it comes to making the audience laugh is Lord Farquaad, who has a diminutive appearance; but rather than using a smaller actor to play the role, we get a situation whereby Carey appears to be bent down, meaning that Farquaad's legs move in a way that is unnatural yet silly, so that almost every time he walks or runs, it gets a laugh from the crowd. It also means that his dance routines are amongst the highlights of the show; if it were another character of regular size, the scenes wouldn't have the same impact, because it is the unusual ways in which Farquaad moves his legs in line with the music that make the moments funny. There are other funny moments, including a scene with the Pied Piper (Will Jennings) and a group of people who are dancing behind a curtain, but whose footwear makes it look like a group of rats are dancing to his tune.

Elsewhere, the sets are spectacular, with the large-scale forest settings, the huge book serving as a door at the beginning, the well-designed castle and church backgrounds, and the bright, colourful lighting and eye-catching visual effects. The costumes are also good for the main characters and suitably exaggerated for others, although some of the fairytale characters (in particular the pigs) could have been made a little clearer and closer to what people would expect them to look like. Even better, though, is the huge dragon creature, held up by some background puppeteers, and whose appearance and actions are stunning to watch; this, to me, was the most impressive part of the show, because it's clear that a lot of work went into its design and its actions during scenes. The use of fairy-tale characters was a good twist, and raised a laugh when it was revealed that the miniature Lord's father was actually one of the seven Dwarves.

The musical numbers were well-performed on the whole, although they will be most familiar to those who have previously seen the Shrek films; I'm A Believer at the very end would be the only recognisable tune to those who have never seen Shrek before. That being said, they are mostly enjoyable, with the performance of I Know It's Today by three versions of Fiona being the musical highlight of the show. The main roles are performed well too; due to the child-friendly nature of the show, the performances of actors and actresses would be less significant than in other shows (since the younger fans are watching for the story and the comedy), but Chisnall, Barbé, Carey and Kargbo all do a good job, with Carey's portrayal of Farquaad being the best, due to his always-ridiculous appearance and his deliberately silly tone of voice when delivering certain lines.

So, overall, Shrek can be considered a success. It isn't a show that will blow you away from a performance standpoint, but it is a show which will keep you entertained throughout, one which has a good amount of funny moments (particularly in the second half), and which provides some very impressive settings and special effects. If you have children aged from 5-11, chances are that they will love Shrek: The Musical.

Overall Rating: 8/10 - Very Good

Hairspray

Image Source: Hairspray

Written By: Mark Armstrong

Format: Musical
Genre: Comedy
Date: October 12 2015
Location: Liverpool Empire Theatre

Hairspray recently made an eagerly-anticipated return to Liverpool, once again emanating from the Liverpool Empire Theatre. The show is all about having fun and tackling important issues in a manner that brings a smile to one's face and with a flair that ensures you will be cheering on the lead characters as they strive to achieve their goals. The plot has multiple layers, but they all come together nicely and, through their development and resolution, combine to tell a story which is both eye-catching and entertaining, making for a very enjoyable night at the theatre.

The lead character, Tracy Turnblad (Freya Sutton), is a slightly overweight teenage girl living in Baltimore who, along with her friend Penny (Monique Young), loves to watch the locally-based TV programme The Corny Collins Show. This is to the disapproval of her mother Edna (played by Tony Maudsley; you can tell it's a male playing the somewhat masculine female, but I didn't realise till midway through that it was Tony, which is a positive I suppose!), with her father Wilbur (Peter Duncan) not minding as his priority is keeping his joke shop in business. One day, the 1960s-based show that blends intricate dancing with feel-good singing reveals that the programme will soon be looking for a new dancer, and that interested parties should audition.

After much persuasion, Tracy and Penny are given the chance to go along, but are confronted on the day by the spoilt brat dancer Amber (Lauren Stroud), who calls them out for their physical appearances. However, they try to ignore Amber as their eyes are on the attractive male dancer Link Larkin (Ashley Gilmour), who tells the casting committee (amongst them Amber's mother Velma Von Tussle, played by Claire Sweeney) that they should give Tracy a chance. While they ponder the decision, Tracy's school studies continue to suffer and she is sent to detention where she meets an African-American crew of students, led by Seaweed (Dex Lee). Their funky dance moves and laid-back attitude impress Tracy, who it must be said is a quick learner when it comes to the art of dance. But the most important aspect of Seaweed is that his mother Motormouth Maybelle (played by Brenda Edwards of X Factor fame) works on the Corny Collins programme. One thing leads to another, and in the end, to the dismay of Amber and Velma, Tracy makes it as a dancer to The Corny Collins Show.

But the story is not over yet; far from it. For Tracy begins to gain popularity and fame, much to the jealous dismay of Amber who goes about trying to bring Tracy down. Meanwhile, Tracy tries to get her family more noticed with the belief that such exposure could assist them financially, and through her friendship with Seaweed, she also makes a real effort to help her African-American buddies at a time (1962) when racial segregation was a major situation in America. In addition, Tracy and Link appear to be getting closer, and even Penny, who is previously controlled by her dictatorial mother, has a crush in the form of Seaweed. These plot lines continue alongside some other side stories (amongst them Edna and Wilbur attempting to rekindle their romance). This all leads to a climatic final scene, broadcast live on The Corny Collins Show, which will truly determine whether the lead characters can achieve their goals or whether they will be thwarted on a grand stage.

This show is very much a feel-good production, from the colourful and old-fashioned set designs (particularly for the TV show, the set for which looks perfect nostalgic) to the bright, positive messages of the musical score. In addition, Tracy is always vibrant and optimistic, never truly allowing those who bring her down to keep her from bouncing back. Freya Sutton explained this to me in a recent interview (which you can read by clicking here), and it shines through during the show: her cheery personality, unwavering loyalty for family and friends and her determination to push through with her objectives, along with her flawless American accent and her rather impressive dance moves, all combine to create a memorable and positive character, with Freya's portrayal of Tracy being the clear highlight of the show.

That being said, the best singing performances come from Maybelle; this isn't a surprise considering that Brenda has previously showcased her vocal range on The X Factor, but her renditions of several tunes are still stunning. Other notable aspects include Seaweed and crew performing some very intricate dance routines, and the evolution of several characters, amongst them Penny (who goes from quiet and shy to outgoing and adventurous) and Edna (who changes from a miserable, always-moaning mother to a positive, self-confident and proud parent). A special mention must also go to Karis Jack who plays Little Inez, by far the youngest member of the cast, whose singing and dancing make this a worthwhile show to see in its own right.

So, overall, Hairspray was definitely a very enjoyable theatre production. It tells clear stories and brings a number of plot lines to one satisfying conclusion, all the while providing catchy tunes, spectacular dance moves and, more than anything, a positive message that shows how you can achieve just about anything if you really try and work as hard as you can to make it happen. Hairspray could return to the Empire in future but, in the meantime, you should check it out during its current run; you're certain to have a fun time.

Overall Rating: 8.5/10 - Excellent