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

Chicago

Image Source: NRG Advertising

Written By: Mark Armstrong

Format: Musical
Genre: Comedy
Date: September 12 2016
Location: Liverpool Empire Theatre

What price would you pay to achieve fame? We've all heard of the Z-listers who were willing to do anything to get a bit of press coverage, regardless of how they were viewed and no matter how immoral their actions may have seemed. Then there's those who achieve fame by association, or rather they make their name by attaching themselves to a big name. Some showcase unseen talents; others are clearly just wanting to get their name in the papers, sometimes by making allegations that on occasion may not even have a sliver of truth (cough cough, Rebecca Loos, cough cough). In a nutshell, some people have no problem behaving in a certain manner if it means their name gets covered in the tabloids.

But even so, how far would you be willing to go to become famous, or infamous as it may be? Would you be willing to take somebody else's life just to be talked about by the general public? True, there are some loons who have committed vile acts because they "wanted to be famous", but generally speaking even the most fame-hungry person who has a semblance of logic and normality to their consciousness would not go that far to be recognised. That is the background for the plot in Chicago, but don't worry: the opening to this review may make you feel like this show is doom and gloom, with the worst people that you could possibly encounter being highlighted. No, Chicago handles this desire for fame in a darkly comical fashion, and the roundabout method of becoming a "star" is an interesting twist that, along with some good comedy material and plenty of strong acting performances, vocal renditions and dance routines all combine to deliver a memorable and engaging show.

Well, the true story behind Chicago is that a cheating wife, Roxie Hart (Hayley Tamaddon), kills the man who she is having an affair with, and is looking to escape a prison sentence with the assistance of a crafty, well-spoken lawyer who takes a real business approach to his cases. Far from being ashamed or guilty at her crime, Roxie looks at the press attention she receives as a gift, and a well-earned one too, and the handling of her case by lawyer Billy Flynn (John Partridge) is akin to the management of an up-and-coming band by a record label producer. Velma Kelly (Sophie Carmen-Jones) is also heading on trial for the same crime (involving another victim, obviously), and the jealousy and tension is clear to see as they attempt to one-up each other for attention, ranging from extravagant dance moves to sudden announcements of pregnancy. In the meantime, Billy is doing his bit to both clear his client's names (even though they are clearly guilty) and receive as much money and attention as possible, whilst the odd man out, the gullible yet loveable Amos Hart, Roxie's husband, has to blindly go along with the charade, even though he has been cheated on and is paying his wife's legal bills.

It's an intriguing tale. If somebody explained the crux of the plot beforehand - an attempt to avoid hanging for committing a murder - one would think that this was a serious drama, or possibly even a thriller. But the attitudes of the murdering women are so over-the-top that you can't help but laugh; for instance, the eventual trial turns onto something resembling a huge musical performance with backing singers adding their two pennies, rather than the serious and emotional situation that one would usually expect (the difference between this and court scenes in Coronation Street are like night and day; ironically, there never seems to be true justice in crime stories on Corrie either). It's very tongue-in-cheek, to the point where you forget thinking about the lack of moral compass amongst the characters and you simply sit back and enjoy it, wondering what crazy antics are coming next.

And it leaves one with interesting thoughts to ponder. By all accounts, Chicago wasn't exactly the nicest place to live during the early 20th century. At a time when Prohibition ruled and with the aftermath of the First World War having not long passed, not to mention this being a time of excess prior to the devastating Wall Street Crash of 1929, there was a lot of - how should I put it - questionable behaviour going on. The term "sleeping around" was often considered to be almost a requisite as opposed to a controversial lifestyle decision, and the lack of morality in bringing such affairs to a sudden, deadly close would not raise as many eyebrows as you would think (let's not forget that gangsters were at something of a peak in the US during this time). Also, this was long, long before social media and even a while before television was really a big thing. People found out what was going on by reading newspapers and listening to radio, but only papers provided photographic evidence of people and happenings back then. And since this was way, way before reality shows could turn someone into a (cough, cough; I must have a sore throat today) "star" and with movies still in the silent phase, there was a lot more news reporting of crimes than there would be today. Ergo, those accused of committing a crime achieved greater notice and, I use the term very loosely, fame, or recognition. Of course, the vast majority probably didn't go as over-the-top in their desire to be famous as Roxie and co do here, but it will have existed in the minds of some. Then, there's the slippery manoeuvrings of lawyers who would find a way to ensure that even guilty parties avoided sentences, allowing them to sleep around even more ... and possibly kill more people ... and get in the papers for being on trial again, resulting in more recognition ... and so on.

I mentioned earlier the comparison between the characters here looking to become famous for murderous crimes and aspiring celebrities or singers. The similarities hit you like a Chicago Cubs baseball (see what I did there? Oh never mind). There is the desire to be recognised, and the willingness to do absolutely anything in the process. There's the idea of making the most of one's fifteen minutes of fame, from the way one dresses to the way one speaks. There's the desperate attempts to remain relevant and/or newsworthy when somebody new takes the spotlight. There's the agent-esque advice by Billy on what steps to take to maximise press exposure and to manipulate others into creating situations that are to the benefit of your need for the spotlight. And there's the ultimate message at the end of the show, which is essentially that in the world of celebrity, it's a case of "What have you done for me lately?" The press will latch onto something that they feel will sell papers, attract viewers/listeners etc, and they have no problem dropping you like a bad habit if something that is comparatively more exciting comes along. It's a lesson that young celebrity wannabes should take into account; the number of overnight stars who ended up having personal problems because they couldn't cope with handling or losing fame is vast.

But whilst there are some messages that can be applied to real-life, the show as a whole is very much a comedy. As noted earlier, Chicago enters a point early on where it's clear that we don't really need to judge the characters, because almost everyone we see is so ridiculously lacking in morality and so willing to achieve fame and fortune on any level that it's a lot easier to go along for the ride and just enjoy what's on display. And there is plenty to enjoy: the acting performances are strong, particularly from John Partridge. The singing performances are largely excellent, with a couple of outstanding moments in certain numbers (referring back to Partridge, who I personally thought was the star of the show: he delivers a sensational high-pitched solo note that seems to last around 30 seconds which is a show highlight), and there are a lot of enjoyable songs which you may find yourself singing along to, such as All That Jazz, Cell Block Tango, We Both Reached For The Gun, Me and My Baby and Razzle Dazzle, most of which are accompanied by excellent backing dancers.

Some slight downsides: I didn't really understand how central characters would sometimes break the fourth wall and introduce us, the audience, to certain numbers; it took me out of the show experience for a little bit. The setting remained generic throughout which was okay, but I expected more from such a major production than a standard lit-up frame (which housed the orchestra who were fantastic, by the way), and at one point the lights shone so bright that I was temporarily blinded! This is an observation rather than a complaint, but Jessie Wallace only played a fairly minor role as Matron "Mama" Morton; she was good whenever she appeared on-stage, but one would have expected her to have a larger role, considering that she was the biggest name attached to the production. And it wasn't the most pleasant audience I've sat in, with some sort of hullaballoo occurring right at the end close to where I was sitting (perhaps they overdid it on the, erm, refreshments), and the amount of coughing during some of the quieter scenes made me wonder if Bob Fleming from The Fast Show had popped in for the evening.

But those are very minor downsides: Chicago was an excellent show to watch. You may have seen the 2002 movie based on what was actually the original musical from 1975, so chances are that you'll know a bit of what to expect. But if you haven't and are looking to give this show a try, I would strongly suggest that you do. A very successful start to the autumn season for the Liverpool Empire Theatre, Chicago is a fun, unpredictable, exciting and ultimately entertaining show that will be one of the more memorable productions that you will see this year. Just try not to mimic the actions of the characters if you are looking to achieve fame yourself!

Overall Rating: 8.5/10 - Excellent

Save The Last Dance For Me

Image Source: Liverpool
Empire Theatre

Written By: Mark Armstrong

Format: Musical
Genre: Romantic Comedy
Date: June 6 2016
Location: Liverpool Empire Theatre

At a time when there is uncertainty about Britain's future in the European market via the EU vote and when holiday prices can make even the simplest break seem like an expensive trip, there's nothing better than a good trip down memory lane. Nostalgia can be a wonderful thing at times, and especially for an older generation, it's often good to sit back and discuss the way that things used to be, back when life was so much simpler, and when you made the most of whatever you had.

It is this vibe of the "good old days" which this show, Save The Last Dance For Me, attempts to recapture, and it does so very well. People of a certain age will remember a time when a big holiday meant travelling for several hours to a bread-and-butter caravan site with one or two nearby attractions, with the odd use of a singular telephone box being your only link to life back home, and with the success of the holiday dependant on who, if anybody, that you met and befriended during your trip away. Sure, you couldn't Tweet what you were up to each night and your memories are confined to your memory and to a couple-dozen printed photographs on an oversized camera rather than having hundreds of pics on your iPhone, but that represented the simplicity of holiday life a few decades ago; some would say that things were a lot better back then for that very reason.

And so, essentially, you have the backdrop for STLDFM. It's the summer of 1963, and Jennifer (played by Lola Saunders of X-Factor fame) and her younger sister Marie (Elizabeth Carter), who live in Luton, are leaving their over-protective parents behind as they head to Lowestoft for the week to stay in a caravan. It's Marie's first trip away from her mum and dad, and she makes the most of it by exploring new things. Not least the chance to fall in love, as during a night in a club operated by a group of American soldiers who are stationed at Lowestoft, Marie meets Curtis (Jason Denton), who emphasises the importance of romance and treating a lady as a lady. Cue a blossoming relationship over the coming days, albeit with the fear that when the holiday ends, Marie and Curtis will be left apart.

Jennifer attempts to warn Marie of this, citing her past experiences as evidence and noting how some man can act with holiday romances, but Marie sees Curtis as somebody who wouldn't be that way. Unfortunately, circumstances dictate that the loving couple do indeed end up in a position where the end of Marie's holiday will spell the end of their romance, and things aren't helped when Jennifer and Marie's parents turn up unexpectedly on the last night of their break and try to bring them home. Once the two are set apart, it becomes clear that the bond between Marie and Curtis can't be broken, but several interfering parties try to keep them separate, such as Marie's parents, who try to keep Marie from Curtis partly due to Marie's age (17) and partly due to Curtis' skin colour, at a time when there remained some strong racial prejudice. As the story progresses, you are willing for a way that the holiday romance can continue - but with the odds heavily stacked against them, can there really be a happy ending?

The story is told not only through the scenes and the development of the plotlines, but also through some classic songs from this golden age of music. The title of this show - Save The Last Dance For Me - is an obvious giveaway about one of the tunes, but other great numbers which are performed during the show (many from the aforementioned bar setting in Lowestoft, which has a nightly performance by the various US soldiers), amongst them Viva Las Vegas, A Teenager In Love (it raised a smile when the audience joined in with the chorus of this song in a suitably slow tone along with some nodding heads), Be My Baby, Way Down Yonder In New Orleans and Then He Kissed Me. The songs have that wonderfully nostalgic feel, and are not only perfect choices to keep the flow of the show going between the story twists, but are occasionally very appropriate for what is happening on stage; for instance, Marie's explanation of how her romance with Curtis began flows nicely into the opening lines for Then He Kissed Me (and if you know the song, which you probably do, you'll know what I mean).

It is a simple story, one that I'm sure many can relate to (at least for the budding romance whilst on holiday), and it is told very well through the believable performances by Elizabeth Carter and Jason Denton. Elizabeth does a fantastic job of playing the sweet and naive Marie; her desires for love come from her heart being in the right place, and her intentions are solely for romance. Ditto for Jason as Curtis, who effectively plays the role of someone who tries to find a nice lady for brief periods of time while they are holidaying, but realises that this girl is different and wants to shed his previous image to keep this one relationship alive. The supporting cast are also very good (particularly Lola in her stage debut), but Marie and Curtis' performances stand out the most, at least from an acting standpoint.

As for the musical renditions: almost all of them are really good, of a very high standard. The most famous songs are performed very well, but even some of the lesser-known numbers are also worth listening to as opposed to them being buffers between the big hits. In terms of the singing itself, virtually everybody does a great job; Marie brings a unique style to her musical moments, Curtis' vocal range is very good (especially during the slower, quieter numbers), and Lola Saunders does an excellent job of demonstrating the skills which allowed her to make a big splash on The X Factor. It also doesn't hurt that Blue member Antony Costa is part of the cast, and thus provides many musical highlights during his performances; he plays a supporting role here as Milton, but his acting, the American twang to his voice and, of course, his singing mean that he is more than capable of playing the lead role in this or another show if it were required. Not to mention that the musicians were extremely skilled, and their performances during club scenes added to the atmosphere.

The settings are simple but effective (basic layouts for the family home in Luton, the Lowestoft train station and their holiday caravan), although the back-drop for the US soldier's bar is very realistic and colourful, and is easily the best setting that we see in the show (which may explain why much of the action takes place here). The uniforms are authentic for the soldiers, and the costumes for the remaining characters are true for the 1960s timeframe, although there are fewer wardrobe changes than I anticipated. There is good use of light comedy throughout, particularly with the range of accents and confusion over American and English terms (let's say that some were "lost in translation"). And the show culminates with an extended finale which, if you are familiar with the music performed throughout the production, is well worth staying behind to see.

Overall, this is a very enjoyable trip down memory lane, and a heart-warming reminder of how life used to be. The story is simple and logical for the era, the acting performances are strong, the cast is talented, varied and dedicated, and the music is fantastic. The quality of the production as a whole is excellent, which is typical of those produced by Bill Kenwright. If you are of an older generation and you went on holidays similar to the one that Jennifer and Marie venture on here, you will love this show, but even if you're younger and this show is your first taste of life in the 1960s, you will still have a great time; from beginning to end, Save The Last Dance For Me is a nostalgic musical treat, one that I would definitely recommend that you go and see.

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

Exciting star casting announced for Sister Act UK tour

Written By: Mark Armstrong

Provided By: Liverpool Empire Theatre

Alexandra Burke will be starring as ‘Deloris Van Cartier’ in the national tour of Curve’s all new production of the hit musical comedy Sister Act, directed and choreographed by Craig Revel Horwood with musical supervision and arrangements by Tony award-winning Sarah Travis. Sister Act will open at Curve on Saturday July 30 2016.

Sister Act is at the Liverpool Empire from October 10-15 2016.

Craig commented: "I am truly thrilled that Alexandra is going to be our leading lady in this all new production of Sister Act at Curve. Alexandra is such a fantastic singer and actress that I know she is going to be amazing. I couldn’t think of anyone better to play the role of the smart and funny Deloris."

Alexandra added: "I’m over the moon to be given the opportunity to play the wonderful Deloris in Sister Act. It’s such an iconic role and a part I’ve always wanted to play. I love touring the UK and I’m thrilled to be working with Craig and his amazing creative team. I can’t wait to get started!"

Alexandra Burke can currently be seen starring as ‘Rachel Marron’ in the national tour of “The Bodyguard”, a part she also played in the West End. She originally rose to fame after winning the fifth series of The X Factor. Her debut number one single Hallelujah sold over one million copies in the UK, a first for a British female soloist. Burke’s first album, Overcome saw the release of her subsequent number one singles Bad Boys and Start Without You. In 2011 she embarked on her first solo tour and was invited by Beyoncé to support her I Am... Tour. Her second album, Heartbreak on Hold, was released in June 2012.

Based on the smash hit movie starring Whoopi Goldberg and Maggie Smith, Sister Act tells the hilarious story of Deloris Van Cartier, a disco diva whose life takes a surprising turn when she witnesses a murder. Under protective custody she is hidden in the one place she won’t be found – a Convent! Disguised as a nun and under the suspicious watch of Mother Superior, Deloris helps her fellow sisters find their voices as she unexpectedly rediscovers her own.

Sister Act features original music by the 8 time Oscar and Tony Award winner Alan Menken. Alan’s credits include the films and stage musicals of Disney’s “Beauty and the Beast”, “Aladdin”, “The Little Mermaid” and “Newsies” as well as “Tangled”, “Enchanted”, “The Hunchback of Notre Dame”, “Pocahontas” and “Hercules” on film.  His other credits include the film and stage production of “Little Shop of Horrors”.

This all-new production of Sister Act is directed and choreographed by Craig Revel Horwood with musical supervision and arrangements by Sarah Travis. Set and costume design is by Matthew Wright, with lighting design by Richard G Jones and sound design by Richard Brooker.

Craig Revel Horwood is probably best known as a judge on BBC One’s “Strictly Come Dancing”. As a director and choreographer his many credits include the recent all-star concert of Stephen Sondheim’s “Follies” at the Royal Albert Hall, “Sunset Boulevard” at the Comedy theatre in the West End, the national tours of “Fiddler on the Roof”, “Spend Spend Spend” and “Chess” (also Toronto) and “The Witches of Eastwick”, “Martin Guerre” and “Copacabana”, all at the Watermill Theatre. Craig also wrote and directed a brand new show, “Strictly Confidential” that toured the UK starring familiar faces from Strictly Come Dancing as well as the annual arena tours of “Strictly Come Dancing”. As a performer his West End Theatre credits include: 'Munkustrap' in “Cats” at the New London Theatre, “Miss Saigon” at the Theatre Royal, Drury Lane and ‘Harry’ in “Crazy for You” at the Prince Edward Theatre. Craig most recently starred as ‘Miss Hannigan’ in the national tour of “Annie”.

Sister Act has music by Alan Menken, lyrics by Glenn Slater, with a book by Cheri Steinkellner and Bill Steinkellner and additional book material by Douglas Carter Beane, based on the Touchstone Pictures Motion Picture “Sister Act” written by Jacob Howard.

Jamie Wilson Productions was formed in 2008 and has produced over 50 productions in the UK and internationally. These include Bruce Forsyth at the London Palladium, Robin Cousin’s Ice and most recently the critically acclaimed and box office hit Calamity Jane. As well as Sister Act, future productions include Tell Me on a Sunday with Jodie Prenger.

Curve is one of the UK’s leading producing theatres, achieving both audience and critical acclaim. Opened in 2008, Curve’s award-winning building offers a completely unique visitor experience. Led by Chief Executive Chris Stafford and Artistic Director Nikolai Foster, the theatre has become renowned for the quality of its home-grown musicals and drama productions with recent successes including Roald Dahl’s The Witches, Lionel Bart’s Oliver! Tennessee Williams A Streetcar Named Desire and Sue Townsend’s The Secret Diary of Adrian Mole The Musical.

To book tickets, visit http://www.atgtickets.com/shows/sister-act/liverpool-empire/.

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

Freya Sutton: "Tracy Turnblad is a dream role for me in Hairspray"

Image Source: Twitter

Written By: Mark Armstrong

Provided By: Liverpool Empire Theatre

With the internationally-popular show Hairspray about to land at the Liverpool Empire Theatre, Mark Armstrong recently spoke to one of the main stars of the show, Freya Sutton, to discuss her role as Tracy Turnblad and why it is the perfect part for her to play …

To begin with, briefly tell us the story of Hairspray.

My character Tracy Turnblad is from a family that is not very well-off (her mum's a housewife who does ironing and stuff, and her dad runs a shop that doesn't really do very well), plus they're kind of overweight. Tracy is told that entering the dance business is a risk, because her mother doesn't want to see her get hurt, but Tracy is determined and says that she really want to get onto a TV show, The Corny Collins Show, which would showcase her talents.

And she manages to do that with the help of her friend Penny (Monique Young), plus along the way, she meets Seaweed (Dex Lee) who is the son of Motormouth Maybelle (Brenda Edwards), a DJ on the Corny Collins show. And at one point, Tracy thinks "Well, hang on. This isn't about me wanting to dance anymore; Seaweed’s little sister wants to dance on the show, they want to dance more and they're really good, so you know what? It's not all about me; I want everyone to dance together." So by the end of the show, she makes that happen, and she actually manages to have a love story as well with Link Larkin (Ashley Gilmour) who is a popular boy on The Corny Collins Show.

How would you describe your character of Tracy Turnblad in Hairspray?

My character is very joyful, she's very considerate, and I think she's very observant. And she's kind of wise before her years, very supportive. She goes on this journey where she could leave her mum in the house, but she takes her mum with her, she takes her friend Penny, and instead of just getting herself on the show, halfway through Act One, she gets herself on Corny Collins, but the show doesn't stop there. So, she's very considerate and happy.

How is your second run in this production comparing to your original stint?

It's different because the first time I did it, it was such an incredible experience. I got to work with an American director who was an assistant to the original director, and he actually come over with the original choreographer, which was amazing. And our show that we did was the Broadway version, which was then the West End version, whereas this second time around, this is different. Last time, we had the original set, we had costumes shipped over etc., whereas for this second run, it's been amazing because I've been there through the whole redesign of costumes. I've had input into that so, for example, if there's shoes that I liked, I've asked for them or if I want to wear a specific colour. I've had input in a lot of direction, I've had a lot more freedom and it's been a lot more organic, which has been really nice. Each time, I've just loved every minute and it's been the dream role for me, so it's just been incredible to get to do my dream role again.

What can you tell us about the rest of the cast in Hairspray?

They're incredible! They're all absolutely phenomenal! Everyone's just brought so much to it: there's so much energy, so much commitment, and it's amazing to work with such a talented range of people. There are people that have got a lot of experience, and there are people who have just graduated. It's really nice to get that kind of wisdom from more experienced names on how you can keep doing it eight shows a week, and then to also see the energy from the newer people who have just graduated – it’s really great. We're only around three weeks into the tour, and already everyone's just getting on so well. It's great!

What has been your career highlight so far as a theatre performer?

Probably getting to play this character: Tracy Turnblad is a dream role for me, because I get to act, sing and dance. She's such an amazing character, she goes through all sorts of emotions, so she's knocked down emotionally, she's happy, she has a love scene, she has scenes where she's in her protest – there’s so much that she does. She dances, which is a really big passion of mine, and I'm quite similar to her as a character, And at some shows, I've had people come up to me at the stage door or they’ve Tweeted me, and they’ve said: "You know, I've struggled with my weight, and coming to watch this show has really helped me think that I am what I am and inspired me.” She has a really great heart, the show has a lot of meaning behind it, and so it's a beautiful piece of theatre to be a part of.

Finally, what are the moments which attendees should particularly look out for when watching Hairspray?

Well, the audience always love the '60s, and you can't stop the beat because everyone's always up dancing. People have told me that when they have seen it, there aren’t any weak scenes: it's so well-written that there's no song or scene that you'd say "Oh, that could be taken out" or "That's a bit of a weak link". The show just keeps going and everything is so entertaining, the time just flies by, and I find that to be the case on the stage as well; the time just goes so quickly! It's amazing. Oh, and the choreography by Drew McOnie is great, so that's something to watch out for as well!

Hairspray plays the Liverpool Empire from Monday October 12 to Saturday October 17. To book your tickets, click here.

For more information about Hairspray, visit www.hairsprayuktour.com.

Love Me Tender

Image Source: Love Me Tender

Written By: Mark Armstrong

Format: Musical
Genre: Comedy
Date: August 10 2015
Location: Liverpool Empire Theatre

Any show which promises the music of Elvis Presley is bound to be a fun presentation. However, whilst Love Me Tender does indeed base its musical score on many of the King's greatest hits, the story itself is less about Graceland's finest and more about the subject of love and how a number of aspiring relationships stem out of just "One Night".

Love Me Tender, a new show which was first shown on Broadway, sees the lead character Chad (Ben Lewis) leave jail after "exciting" the ladies in that town, only for him to move onto the next place with the same intentions in mind (we aren't told which towns they are, by the way). Clad in a biker vest and jeans, he is clearly positioned as the star of the show, at least in terms of his profile within the story.

When he arrives at the local bar in his newest host city, Chad captures the attention of all attendees and the hearts of all female customers, none more so than Natalie (Laura Tebbitt), who immediately falls in love with the new arrival, much to the chagrin of local nerd Dennis (Mark Anderson) who himself has a crush on young Natalie. But whilst this is the longest-running love story of the production, there are a variety of tales which take prevalence at various times.

Examples include the budding romance between youngsters Dean (Felix Mosse) and Lorraine (Aretha Ayeh) which defies the racial prejudice held by many at the time (including those of Mayor Matilda Hyde, mother of Dean, and played by Sian Reeves; and the on-stage mother of Lorraine, Sylvia, who is played by Mica Paris); the often-baffled Jim (played by former Eastenders star Shaun Williamson) who finds it very difficult to convey his true feelings in light of the romantic chaos going on around him; and the bizarre situation where Chad's attempts to woo museum manager Miss Sandra (Kate Tydman) indirectly result in her falling in love with a newcomer named Ed, who in actual fact is Natalie dressed as Chad to try and impress him. Confused? It'll all make sense when you watch the show. And with so many budding romances advancing at different stages, there has to be an ending which ties up all the loose ends and provides a satisfactory conclusion in each arc, some more surprising than others. Which this show does - but who ends up with whom?

The story is complex but easy to follow despite the detail above, and there is a lot of humour in between the displays of romantic affections and the musical numbers (more on them shortly). Some scenes work better than others, as is often the case in a theatre show which has an ebb-and-flow strategy when it comes to providing laughs, but it's fair to say that you will definitely be laughing at some of the visuals and verbals which arise during this show.

As for the music? As the name Love Me Tender suggests, the songs of Elvis Presley help to tell the story of this show, some of which tie in perfectly with the plot developments, and some of which are there to provoke ironic laughter. But none are sung in an attempt to sound like Elvis, as each character brings their own style to their specific musical numbers (and actually, the name "Elvis Presley" isn't mentioned once during the entire production). A number of Elvis' most famous tracks are included such as Jailhouse Rock, Hound Dog and Heartbreak Hotel, although there are some notable omissions, one example being Suspicious Minds. Mind you, not all Elvis song references come in a musical form; for instance, nearly every character at some point ends up wearing a pair of those famous "Blue Suede Shoes".

However, whilst the songs are most associated with Elvis, the best musical moment of the show is a very non-Elvis like performance from Mica Paris. A well-known female vocalist in her own right, Mica more than anybody brings her own distinctive style to her singing, and her slow, powerful rendition of There's Always Me is unquestionably the musical highlight of the entire production. Another notable solo performance came from Aretha Ayeh, more impressive considering her young age in the company of older stars; and even the weaker singers were rescued by the comedic elements to their routines. Elsewhere, the setting was understated yet acceptable, and the closing scenes were effective enough to get the audience on their feet, waving their arms as if they were in the presence of the King himself.

Overall, Love Me Tender is an enjoyable night of musical theatre. It was something of a slow starter, as it took its time to find its groove (no pun intended). But once the plot lines became clear, it only got better, from the strength of the musical performances to the comedy elements of the most light-hearted scenes, and as stated it does a fine job of bringing a satisfying end to a variety of story arcs. Those expecting to attend something akin to an Elvis Presley concert may be disappointed, but for those who want to sit back and watch engaging comedy theatre action with the King providing the soundtrack, Love Me Tender is a pleasant and fun production, and it may even leave the more excited attendees All Shook Up.

Overall Rating: 7.5/10 - Good

Sister Act coming to the Liverpool Empire in Autumn 2016

Written By: Mark Armstrong

Provided By: Liverpool Empire Theatre

Jamie Wilson is delighted to announce a national tour of an all-new production of the hit musical comedy Sister Act, directed and choreographed by Craig Revel Horwood with musical supervision and arrangements by Tony award-winning Sarah Travis. Sister Act will play the Liverpool Empire Theatre from Monday October 10-Saturday October 15 2016.

Tickets go on sale to ATG Theatre Card members on Monday August 3 2015 and on general sale on Wednesday August 5 2015.

Craig Revel Horwood, director and choreographer, commented: “I am truly thrilled to be directing and choreographing this all new production of Sister Act, a show I fell in love with when I saw it a few years ago. I am currently putting together a dream creative team, and I can’t wait to get started next year on this hilarious and wonderful show”.

Jamie Wilson, producer, added: “I am delighted to be presenting this all new production of Sister Act at both Curve, Leicester and on tour. I couldn’t think of a better theatre to be producing this show with and am thrilled Nikolai Foster and his team will be welcoming those singing nuns next summer!”

Nikolai Foster, artistic director of Curve, said: "It's been a great joy collaborating with Craig on Annie and having been inspired by many of his innovative productions as director, I know, along with Sarah’s inspired musical leadership, they will deliver an exhilarating and hugely original production at Curve".

Based on the smash-hit movie starring Whoopi Goldberg and Maggie Smith, Sister Act tells the hilarious story of Deloris Van Cartier, a disco diva whose life takes a surprising turn when she witnesses a murder. Under protective custody she is hidden in the one place she won’t be found – a Convent! Disguised as a nun and under the suspicious watch of Mother Superior, Deloris helps her fellow sisters find their voices as she unexpectedly rediscovers her own.

Sister Act features original music by the eight-time Oscar and Tony Award winner Alan Menken. Alan’s credits include the films and stage musicals of Disney’s Beauty and the Beast, Aladdin, The Little Mermaid and Newsies as well as Tangled, Enchanted, The Hunchback of Notre Dame, Pocahontas and Hercules on film. His other credits include the film and stage production of Little Shop of Horrors.

Craig Revel Horwood is probably best known as a judge on BBC One’s Strictly Come Dancing. As a director and choreographer, his many credits include the recent all-star concert of Stephen Sondheim’s Follies at the Royal Albert Hall, Sunset Boulevard at the Comedy theatre in the West End, the national tours of Fiddler on the Roof, Spend Spend Spend and Chess (also Toronto) and The Witches of Eastwick, Martin Guerre and Copacabana, all at the Watermill Theatre. Craig also wrote and directed a brand new show Strictly Confidential that toured the UK, starring familiar faces from Strictly Come Dancing as well as the annual arena tours of Strictly Come Dancing. As a performer, his West End Theatre credits include Munkustrap in Cats at the New London Theatre; Miss Saigon at the Theatre Royal, Drury Lane; and Harry in Crazy for You at the Prince Edward Theatre. He is currently playing Miss Hannigan in the tour of Annie.

Sister Act has music by Alan Menken, lyrics by Glenn Slater, with a book by Cheri Steinkellner and Bill Steinkellner and additional book material by Douglas Carter Beane. It is based on the Touchstone Pictures movie Sister Act, written by Jacob Howard.

For more information, visit www.sisteractuktour.co.uk.

Michael Palin to play God at Spamalot

Michael Palin as God

Written By: Mark Armstrong

Provided By: Liverpool Empire Theatre

Herewith a Missive: Michael Palin wins public vote to play the role of God on the Spamalot UK Tour at The Empire Theatre in Liverpool

Monty Python legend Michael Palin has beaten off stiff competition from Brian May, Professor Brian Cox, Hugh Bonneville, Michael Ball and Eric Idle to appear on screen during each performance of Spamalot at The Empire Theatre in Liverpool from May 11-16 as part of Monty Python’s Spamalot UK Tour.

‘The Spamalot Charity Gods’ has been created to raise-a-lot of shillings for the charities supported by the actors who are playing God while the show is on tour across the country from January to June.

Michael Palin took time out of his busy schedule (of travelling through a large and expensive extensive forest for some TV show or other) to film the part of God, which will be shown during each performance of Spamalot when the UK tour visits Edinburgh. His nominated charity is Action for Stammering Children.

The role of God features in Spamalot when King Arthur and the Knights of The Round Table are given their quest to find The Holy Grail.

Sir Howard Panter (says he’s a real Knight! as if), producer of Spamalot for Ambassador Theatre Group, said: “It is a wonderful opportunity to be able to bring friends of the show in to the role of God in this way, so that we can help such deserving causes while making audiences laugh at the same time.”

As well as Michael Palin appearing as God, actor and comedian Joe Pasquale is returning to the role of King Arthur and actor Todd Carty returns as King Arthur’s faithful manservant Patsy, after playing the roles in the West End production.

Lovingly ripped off from the classic film comedy Monty Python and the Holy Grail, Spamalot is a kind-of new musical with a book by Eric Idle and an entirely new score for the new production, (well, almost) created by Eric Idle and John Du Prez.

Spamalot tells the legendary tale of King Arthur and the Knights of the Round Table and features a bevy (or possibly a brace) of beautiful show girls, witch burnings (cancelled due to health and safety) not to mention cows, killer rabbits and French people. The show features fantastic tunes more magical than a Camelot convention, including He Is Not Dead Yet, Knights of the Round Table, Find Your Grail and of course the Nation’s Favourite Comedy Song (Reader’s Digest Poll 2010 - before it went bust), Always Look On The Bright Side Of Life.

The new UK tour, which was previously on at The Playhouse in London’s West End and is directed by Christopher Luscombe, follows Eric Idle’s acclaimed performance of ‘Always Look On The Bright Side of Life’ at the 2012 Olympic Closing Ceremony – the world sang along, and Spamalot audiences get the opportunity to do so too! During the West End run, there were been 21 on-stage moustache incidents, three suspected cases of swine flu (French pigs!), one outbreak of nits and 92 pairs of coconuts used.

Two Joes for the price of one

Written By: Mark Armstrong

Provided By: Liverpool Empire Festival

Joe Pasquale's son Joe Tracini joins the Spamalot UK Tour 2015 as King Arthur's manservant Patsy

Father and son premiere their first partnership in a musical at the Empire from May 11-16

Having travelled the length and breadth of the country since January in search of The Holy Grail, Joe Pasquale now continues his hilarious quest at theatres across the land with the help of his actor son Joe Tracini (handy that he’s also called Joe, so that probably helps cut down on sign writing costs at least).

As one of the most talented coconut bangers this country is likely to ever see, Joe Tracini takes over manservant duties in the role of Patsy from May 11 when the Spamalot 2015 UK tour arrives in Liverpool. Joe is thrilled to join his father Joe on stage in the hugely popular comedy jaunt, which is (loosely) based on the classic film, Monty Python And The Holy Grail.

Joe Tracini commented: “When I was little, I had three dreams for when I grew up… to be in a musical, to work with my Dad, and to bang two halves of a coconut together on a nightly basis. Playing Patsy in Spamalot is making all of them come true at once. I'm honoured that I'm being trusted with the part, to sing the classic song 'Always Look On The Bright Side Of Life,' and to be joining such a brilliant company. Come and see us please, it's funnier if you're there.”

Best known for his roles as Dennis Savage in Channel 4’s Hollyoaks and as DK in BBC Three’s Coming of Age, Joe Tracini studied at the world-famous Italia Conti Academy of Arts in London before landing his first role in My Spy Family on Cartoon Network’s sister channel, Boomerang.  He was nominated for three Inside Soap Awards and a British Soap Award during his time in Hollyoaks.  He’s also appeared in BBC Three’s Two Pints Of Lager And A Packet Of Crisps. As well as acting, Joe Tracini is an accomplished magician, having won the title ‘British Junior Magical Champion’ in 2003 and went on to become a member of The Magic Circle.

Spamalot tells the legendary tale of King Arthur and the Knights of the Round Table and features a bevy (or possibly a brace) of beautiful show girls, witch burnings (cancelled due to health and safety) not to mention cows, killer rabbits and French people. The show features fantastic tunes more magical than a Camelot convention, including He Is Not Dead Yet, Knights of the Round Table, Find Your Grail and of course the Nation’s Favourite Comedy Song (Reader’s Digest Poll 2010 - before it went bust, closed down and then came back again), Always Look On The Bright Side Of Life.

The latest tour, directed by Christopher Luscombe, follows hot on the heels of the can’t-believe-how-successful-it-was-with-the-first-show-selling-out-in-40-seconds Monty Python Reunion at The O2 and Eric Idle’s acclaimed performance of ‘Always Look On The Bright Side of Life’ at the 2012 Olympic Closing Ceremony – the world sang along, and Spamalot audiences get the opportunity to do so too! During the West End run, there were 21 on-stage moustache incidents, three suspected cases of swine flu (French pigs!), three outbreak of nits and 92 pairs of coconuts used.