Pantomime Review: Beauty and The Beast (St. Helens Theatre Royal)

Image Source: The Reviews Hub

Written By: Mark Armstrong

Format: Pantomime
Genre: Comedy
Date: April 1 2017
Location: St. Helens Theatre Royal

Beauty and The Beast is all the rage right now, given the recent cinematic release of the newest Disney adaptation, and so it's very good timing to see a good old-fashioned pantomime version of the classic tale for the Easter season.

The St. Helens crowd was treated to plenty of comedy capers with this Beauty and The Beast performance. Belle (Amy Thompson) rejects the advances of Gaston (Philip McGuinness), who is supported by his evil mother Madame Botox (Hannah Potts), and instead wishes to fall in love with the handsome Prince (Richard Hazlewood). However, the wicked Madame Botox uses poison to turn the Prince into a Beast, who becomes a hideous and terrifying creature.

Nevertheless, this doesn't stop Belle who, with support from French Frank (Liam Mellor) and Potty Polly (Simon Foster), manages to enjoy food and a dance with the Beast/Prince, appreciating him for what he is on the inside rather than on the outside. But there remains questions as to whether Belle and the Beast can truly fall in love, especially with Gaston and Madame Botox lurking around; fortunately, Fairy Rose (Nikki Grahame) is on hand to provide a helping hand to the good guys when needed.

The show is a lot of fun, delivering a lot of laughs from the one-liners by Frank to the amusing audience interaction scenes to the general silliness of certain moments throughout the story. The settings were very good, and the costumes are excellent, especially for Belle, the Beast and Fairy Rose; their attires perfectly match what audience-goers would expect from this retelling of a classic tale.

There are plenty of songs during the show, some of which are slightly modified versions of current chart hits to tie in with the story, whilst others are panto favourites played purely for laughs (such as Frank's "One smart fella, he felt smart" tune towards the end). I felt that the show was a little on the short side, with things wrapping up inside two hours, but amongst the young children and also the adults on hand, the show couldn't have been much better, and to them the running time seemed to be just right.

Easter pantos are becoming more and more prominent, so there's a decent chance that you'll find yourself heading to one this year. If you do, Beauty and The Beast at St. Helens Theatre Royal is one of the best options you could find, delivering all the fun and frolics that one would expect from a classic pantomime.

Overall Rating: 8.5/10 - Excellent

Little Red and The Big Bad Wolf

Image Source: Unity Theatre

Written By: Mark Armstrong

Format: Pantomime
Genre: Comedy
Date: December 3 2016
Location: Unity Theatre, Liverpool, England

The fairytale of Little Red Riding Hood is known by virtually everyone, with the target audience obviously being young children. The story has slight differences in some versions, but needless to say, the core elements remain the same, including the relatively short time it takes to tell the tale.

Therefore, Little Red and The Big Bad Wolf was an intriguing prospect. How do you take a story which everybody will know, and which doesn't last too long, and create a theatre show out of it that will maintain interest and provide entertainment for attendees of all ages? Well, anybody who feels that this is an impossible task would be surprised, because Little Red ... ticks all the boxes, whilst adding some unique layers which ensure that it stands out from the classic fairytale.

You won't need me to explain the plot, but I will tell you why this show is different. For starters, there are a number of original songs featured in each scene, which help to either move the story along or emphasise certain character traits. The settings are also a stand-out element: we're taken into the woods, including the use of gravel to represent the muddy fields walked through by Little Red. But it's the use of comedy which helps to make this show: there are frequent moments of comedy, ranging from standard lines appealing to younger members of the audience to clever one-liners and even some occasional ad-libbing to match the opinions of those warning Little Red and her grandma of impending doom.

I also appreciated the smaller touches: the story wasn't afraid to poke fun at itself on more than one occasion, and there are also nods to other classic fairy-tales, including one amusing reference to Jack and The Beanstalk. The costumes were effective, and helped to hide the fact (or perhaps promote it in a satirical manner) that the same crew of four performers were playing all of the characters (besides Luca Rutherford, who plays Little Red, the remaining members of the cast have more than one role). Speaking of which, all four actors and actresses - Luca Rutherford, Harvey Robinson (who plays the Big Bad Wolf), Simone Lewis and Natalia Campbell - adapt well to their interesting surroundings (a greater achievement considering the very intimate theatre setting for the show), with each having an important part to play and with the performances being strong throughout, ranging from drama to comedy to mild horror (one very young child near me got a bit frightened towards the end!). And without spoiling the details, I will urge that the kids look out for moments of audience participation, as there may be a chance to not only get involved, but to also pick up a little treat!

The only thing I would say which could have been better was that, as a show which will be held over the Xmas season, there wasn't anything particularly Christmassy. Some decorations, one holiday-themed hit or even a Christmas-related scene tacked onto the finale would have gotten the young 'uns into that festive spirit. Otherwise, though, this was a really fun show, one perhaps better for those who have kids aged between 5 and 10, but I feel that all members of the family will enjoy this unique retelling of a classic story.

Overall Rating: 8/10 - Very Good

The Full Monty

Image Source: ATG

Written By: Mark Armstrong

Format: Play
Genre: Comedy Drama
Date: November 7 2016
Location: Liverpool Empire Theatre

A production which brings the original 1997 movie to the theatre stage, the story of The Full Monty will be familiar to anybody who has seen the film. To those who haven't seen the flick, though, the prospect of watching this show could potentially be a little awkward. After all, it's about a group of wannabe male strippers; assuming that you don't fit into the target audience, how awkward will it be sitting through a show that focuses on half a dozen men preparing to bare all?

Well, you need not worry, because the show is about more than stripping. A lot more, in fact, to the point where the clothes-shedding scenes are at a minimum. The story is actually an examination of British society during Thatcher's problematic reign as Prime Minister, which led to job cuts, declining industries (such as the steel industry, which had previously provided jobs for the central characters here) and general malaise amongst the fortunes and morale of the working-class British people. The knock-on effect included the likes of proud men being unwilling to admit to their partners that they were now jobless (Gerald, played by Brian Dunn), fathers whose hearts were in the right place as opposed to their brains being involved in dodgy deals to try and keep their father-son relationships alive (Gaz, the main character who is played by Gary Lucy) and young men who had yet to achieve any real success, and whose gloomy thoughts convinced them that they never would (Lomper, played by Anthony Lewis).

It is a combination of their various personal and financial problems, along with a fair amount of jealousy at how the Chippendales were received by their somewhat-estranged partners, that convinces Gaz to conjure up the idea of he and his fellow down-and-outers to put on a stripping act, both to make money and to impress those who once loved them with total affection. It takes some time for Gaz to convince his best friend Dave (Kai Owen) to get involved, and over time, the duo manage to convince several other accomplices to participate, as well as holding some auditions (the results of which are tepid at best) to deliver a line-up that compares with the Chippendales in terms of numbers, if not quite in terms of sexual appeal.

There are further struggles involving almost every character, as each male has a reason to be involved, as well as having a reason to have trepidation (especially when Gaz reveals that they are going all the way with their strip act, hence the term "The Full Monty"), not to mention that the team have a real problem finding their rhythm and actually being able to pull it off (no pun intended). Relationships, personal emotions and sexual orientations are brought to the forefront at various points, and it's hard not to have sympathy with each of the men whose lives have been challenged in some way by the changing societies, largely brought about by the decline of the country in general. Further problems threaten the show going ahead at all; as to whether the central characters overcome the odds and give the audience, erm, what they want - well, you'll just have to watch the show to find out (wink, wink).

All of which may suggest that this is a serious drama. But while there are some serious moments, the show is almost entirely comedy. Everything is handled in a tongue-in-cheek fashion; even a scene where one character (Lomper) attempts suicide due to his sewer-low emotional state is presented in a manner that you can't help but laugh, despite the grim nature of the content. The show is similar to Blood Brothers (which you can read my review of by clicking here) in that it handles working-class British life in a comedy-drama situation - but whereas Blood Brothers focused on drama more than comedy, here the drama aspect is minimal, with the comedic material taking centre stage. And, of course, the stripping scenes (which, as stated, are not as great in number as you may believe) are total comedy and a basis for sexually satisfying the ladies in attendance (more on the audience shortly).

As with the original film, the show is great, and a brilliant comedy-drama telling of this particular story. As noted, you have sympathy for all of the leading characters for different reasons, none more so than Gary Lucy's Gaz character, who plays the bumbling yet good-intentioned father to a very high standard. James Burton is also excellent as Nathan, the young child who is innocent yet outspoken when need be, but remains a kid with the right attitude and helps his dad out at times of struggle. Amongst the other characters, there are strong performances all-round, although Anthony Lewis deserves immense credit for playing the troubled, simple and slow Lomper character who nevertheless keeps the audience laughing and earns plenty of sympathy, especially when he discusses his sexuality with the far more flamboyant Guy, played by Chris Fountain.

The comedy material is also very good; there are a ton of hilarious lines, with Gerald perhaps having the best one-liner when explaining why Gaz and Dave won't succeed when the idea is first conceived (I won't spoil the line here, although it was used in the movie). Unusually for a theatre show, there are no singing performances; granted, there was next-to-no singing in the film either, but the music is limited to the use of the original movie soundtrack as the backdrop for the more memorable scenes (those tunes include You Sexy Thing by Hot Chocolate, Hot Stuff by Donna Summer and You Can Leave Your Hat On by Tom Jones). The settings are largely kept simple, but it's cool to see how the same general background is adjusted slightly to fit in with what is happening on-stage (a steel mill factory, the local job centre, the working men's club etc). On the downside, the show started a little late, and as things had wrapped up by 10pm, the show as a whole felt a little brief (no pun intended).

I mentioned the audience earlier; unfortunately, the behaviour of the crowd hampered my enjoyment of The Full Monty. Let me clarify, because the wolf-whistles and wooing by the ladies in attendance is to be expected at a show like this, and loudly too. The problem I had is that a huge number of attendees, sat in different parts of the venue, wouldn't stop talking during the show, especially during the quieter, more serious scenes. So much so that the theatre had to remind the audience during intermission not to talk, but it was to no avail. It was very distracting, and sadly meant that the behaviour of many in the seats stood out more than most aspects of the show when all was said and done.

Fortunately, though, it didn't detract too much that one could not appreciate that The Full Monty was a very entertaining theatre show, with strong performances and high comedy throughout (not to mention an - ahem! - climax that will please the females). I wouldn't necessarily put it amongst the best shows that I have seen this year, but it is definitely on the rung just below. And if you loved the 1997 movie, this is a thoroughly enjoyable recreation of what happened when a bunch of working-class lads decided that the solution to their various problems was to get their kit off.

Overall Rating: 8/10 - Very Good

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

Blood Brothers

Image Source: Liverpool
Empire Theatre

Written By: Mark Armstrong

Format: Musical
Genre: Comedy Drama
Date: September 20 2016
Location: Liverpool Empire Theatre

"Did you ever hear the story of the Johnstone twins?"

The narrator of Blood Brothers, played by Dean Chisnall, opens and closes the show with this statement. When it begins, we're not to know the true details of the highs and lows of the Johnstone twins, although we are given a visual clue as to what lies ahead. Unusually, the narrator tells us the outcome at the beginning, with the show acting almost as a biography of how the Johnstone twins would meet their fate. By the time we hear this statement repeated, we know their story. Oh, do we know their story. And their story is one of manipulation, humour, heartbreak, triumph, sadness and ultimately tragedy. It's incredibly compelling, and the show as a whole is simply incredible.

After the narrator's foreboding opening, we are quickly introduced to Mrs Johnstone (Lyn Paul); a cheerful lady who struggles to manage the children that she has only for her to fall pregnant again, and then for her husband to leave her to fight for herself. Complicating matters, she quickly learns that she is having twins - hence, the Johnstone twins. But with Mrs Lyons (Sarah Jane Buckley), who Mrs Johnstone is working for as a home cleaner, struggling to have children at all, a deal is made and sworn on the Bible, with Mrs Johnstone having to be heavily persuaded, it must be said. The twins are separated early in life, with the promise that the twin who comes under Mrs Lyons' control - Eddie - will never be too far away.

Only, Mrs Lyons' care of her "child" borders on the obsessive, to the point where her relationship with Mrs Johnstone breaks down. As time goes on, the two twins - Eddie, played by Joel Benedict, and Mickey Johnstone, played by Sean Jones - are reunited, becoming friends whilst never realising that they are related, and without understanding why their parents are so adamant that they cannot see each other. However, their bond becomes so strong, so quick, that they become what they describe as "Blood Brothers". From here, a series of events keep the two apart, only for them to meet again in the future. As they grow older, Mrs Lyons' mental state deteriorates, and the friendship, while as strong as ever, begins to show cracks when the struggles of life get to Mickey. Soon, it seems as if they were never meant to be friends, and after some serious setbacks, their paths intertwine once more in a way that seemed unfathomable earlier on.

The story is told over the course of several hours, making this a lengthy production - but your eyes are glued to the stage for the duration. It is set in mid-20th century Liverpool, with the happy-go-lucky nature of one family contrasting with the attempted prim and proper style of another. The hardships of Merseyside life during a recession are emphasised, as are the consequences of one seemingly small decision having grave consequences in the long-run. Although one can occasionally sense what is going to happen, the story is generally unpredictable, allowing key moments to have a much bigger impact, both on the characters and on the paths that they take.

What makes the show really work, however, are the performances. For starters, Lyn Paul is a simply phenomenal singer; older members of the audience will recognise her from her days in the group The New Seekers, but even they will be blown away by her vocal range and her ability to integrate a wide variety of emotions, covering the entire spectrum, into her singing and her acting. She is completely believable as the mother with her heart in the right place, who puts her family first and who puts herself in awkward situations for the benefit of those that she loves. This, combined with her world-class singing, results in her treating us to one of the best all-around theatre performances that I have ever seen. The show is worth seeing for her alone.

But there's more. Sarah Jane Buckley, whilst being only an occasional character that has, as the narrator puts it, a "heart of stone", is extremely convincing as Mrs Lyons, the lady who believes that money is the answer to all problems, only for her to suffer mental issues as she slowly loses control of situations for which she will always feel guilt. Joel Benedict does a great job as Eddie Lyons, with his "posh" accent providing a stark contrast to the Scouse dialect used by most of the remaining characters, in particular Mickey. And as for Sean Jones, who plays Mickey: his range may be the most impressive of all. He goes from playing a wacky, over-excited kid to a cheeky yet good-hearted teenager to a struggling, outspoken adult to a depressed, mentally-tortured addict. A scene in the final third between him and Linda (Danielle Corlass, who is also very good), his childhood friend turned wife, at home while he struggles to comprehend life without his medication is heart-breaking to watch and has the audience in tears (and not for the last time).

As for the other characters: most play a minor role, but Dean Chisnall stands out due to his somewhat intimidating manner as the narrator. He is always looking on at the families and, in particular, the two mothers as they encounter plenty of situations stemming from that original decision to separate the twins. Of note, he is there to remind both of the ladies that they can't run away from the choice they made, as well as foreshadowing us that the oblivious and innocent twins are going to run into trouble at some point. He serves almost as a walking conscience, and his presence makes a real impact, almost to a fault: his judgemental appearances combined with the use of chilling music border on creepy, and have one's mind racing while watching the show about the dangers of small decisions turning into massive, life-altering choices, as well as the idea of never being able to escape or rebound from certain decisions which were made with good intentions.

Many of the songs are excellent, and the lyrics in most of them have meaning to the story. Easy Terms is performed very well, but the most memorable song is Tell Me It's Not True. Comparisons to Marilyn Monroe are frequent, from her rise to her ultimate fall and her own tragic end. They relate well to the struggles encountered by both the Johnstone and Lyons families, and Mrs Johnstone's final rendition of Tell Me It's Not True to close the show is sung with such emotion, power and sadness that one can literally hear people crying their eyes out. That a theatre show can grab one's emotions and trigger such a reaction, when we all know that what we are seeing is ultimately fictional, is some achievement; one that writer Willy Russell should be very proud of. Harking back to an earlier point, this closing number by Johnstone is probably the best musical performance that I have heard in any theatre show ever. It is that good.

And let's not forget that the show isn't all sad; as a matter of fact, much of it is presented as a comedy, and a lot of the material is very funny. It does rely on Liverpool slang, meaning that audiences outside of the city may find it a little less humorous, but nevertheless a local audience will completely get the jokes and laugh out loud at how the contrast between the two twins leads to some really funny one-liners, which are played completely straight due to Eddie not realising the impact of certain words, and where and when is most appropriate to use them (if at all, in the case of swear words). It is a superb concoction of various lifestyles, classes, situations, hardships, settings and genres. Another interesting aspect is how the same people play the younger characters throughout their lives, and how certain background actors play multiple characters, although this is never acknowledged. Plus, the story is easy to follow, basically from the very beginning.

I almost feel guilty for even trying to think of ways in which this show could have been better, because it is practically flawless. Really, all I could suggest is that it runs a little bit long, and as one or two of the songs don't really add anything to the story, they perhaps could have been left out allowing for a slightly shorter and more succinct experience. The sound levels were slightly off towards the end of the first half, too, meaning that the vocals were slightly overwhelmed by the background music. But they are very minor comments, because the show is fantastic; even the simple settings which show the Liverpool sky-line lit up at night and graffiti-stained walls surrounding the residential housing are very effective.

In closing, Blood Brothers is a must-see. It is the best theatre show I have ever seen, and it is one that everyone who appreciates the art of theatre should go out and see. I would say that if you struggle when watching shows that handle real, serious situations in a heartbreaking fashion, then you may be best letting your friends go along and see it; the performances are so authentic that it may leave some walking away with a negative vibe. But I suppose that illustrates just how good the production is for it to create that emotion amongst those who watch it. From the nail-biting story to the outstanding acting to the phenomenal singing to the frequent and effective use of local humour, Blood Brothers is that rare treat: a perfect show which I give my very highest recommendation to. See it tonight; it is a blockbuster production.

Overall Rating: 10/10 - Perfect

Singin' In The Rain

Image Source: At The Theatre

Written By: Rob Stanway

Format: Musical
Genre: Musical
Date: July 6 2016
Location: New Vic Theatre, Newcastle-Under-Lyme

Singin’ In The Rain is one of the most well-known musicals of all-time. After being adapted from the 1952 movie of the same name it has been performed to audience countless times. This brave new adaptation by The New Vic Theatre, Octagon Theatre Bolton and Salisbury Playhouse puts a fresh spin on the classic musical.

In fact this is a rare opportunity to see a musical in the round, which is always an engaging and highly enjoyable experience.

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Cats

Image Source: Zeal NYC

Written By: Mark Armstrong

Format: Musical
Genre: Musical
Date: July 11 2016
Location: Liverpool Empire Theatre

One of the most famous musicals across the globe, Cats has made its way into the Liverpool Empire Theatre. The reputation of the show, which dates back decades and is amongst the biggest theatre shows on Earth (a longtime prominence on Broadway), ensures that attendees are expecting something special. Fortunately, Cats came through by delivering a great experience with plenty of special effects and unique nuances, all of which ensured that this production was the cat's whiskers, as I will now explain in more depth.

Cats tells the story of a series of cats roaming the streets at night, when everybody is asleep and the feline animals are able to live a little; the creatures come out at night, you might say. But this is no ordinary night; tonight, it is the annual Jellicle Ball, whereby the cats come together for a celebration, during which one of the Jellicle cats will be lucky enough to be chosen for a "rebirth" of sorts. Along the way, we are introduced to many different cats (one of whom facially resembled Gareth Bale), each with a unique personality trait; there's Jennyanydots (Lucinda Shaw), the Old Gumble Cat, who generally lazes around and enjoys a good rest; there's The Rum Tum Tugger (Marcquelle Ward), who is the joker in the pack; and then there's Bustopher Jones (Greg Castiglioni) who enjoys eating and eating; you may say that he is a fat cat!

We are also introduced to Grizabella (Marianna Benedict). She is more than just a cat, she is an Iam's ... sorry, wrong thing. No, Grizabella is a Glamour Cat who left the group years ago but now wishes to return, much to the reluctance of the gang. However, things take an unexpected turn when it is clear that the bad cat Macavity (Javier Cid) is hanging around and looks to disrupt proceedings. After the Ball, we meet more cats, such as Gus The Theatre Cat (Connor McAllister), who recounts his life and times in a slow-paced, easy-going fashion (he is an elder statesman amongst the felines). But there is further trouble with Macavity, and Grizabella is still trying to claw her way back into the gang. Macavity orchestrates a kidnap of the much-loved Old Deuteronomy (Kevin Stephen-Jones), which has the cats fleeing for their safety, only to realise that their hero is still in danger. The cats look to enlist the help of magician feline Mr. Mistoffelees (Shiv Rabheru) to reunite with Deuteronomy, but will they be successful? How will Macavity be stopped? And where will Grizabella fit in as she looks to start afresh by being rewarded with a rebirth?

Just to make things clear: the cats are (obviously) played by actors and actresses, all of whom put forth strong performances. From singing to dancing to general feline behaviour, the cast were very good at conveying what life must be like for a group of cats who come out at night when everybody is asleep. Well, unless you end up in Concert Square on a Friday or Saturday night, but never mind. The singing from the main cast, which was often accompanied by a spectacular live orchestra, was excellent; the vocals were crystal clear, and the high notes were hit perfectly. The top musical moment, though, was the final performance of Memory by Grizabella, which was simply incredible and had a unique climax of the character elevating into the night sky. The costumes were simple but very effective, and were carefully designed to not only resemble adult-like versions of cats, but to also make each character stand out from the other. As well as the topnotch singing and the frequent, fast-paced action sequences and dance numbers, the crowd loved the magical performance by Mr. Mistoffelees, who wowed the audience and played a crucial role in plot developments later on.

The production is first-class. The set evokes memories of Toy Story in that, because we are watching life-size versions of smallish cats, everything on set is larger than life, from the oven to bike wheels to a car bumper to cereal boxes. The setting is enhanced by some very effective lighting, which ranges from hundreds of bulbs scattered around the theatre to the "cat's eyes" that come out at points of danger to the lit-up moon in the sky which, as with the household items, also stands out as being larger than life (this looks even cooler during the Gus melody when we see an outline of the Tower Bridge surround the moon). Other props such as a mock sailing ship, which again are large-scale, are introduced at various points and make for an even more effective presentation.

Another key aspect of the show concerned audience interaction. I don't want to spoil the show in case you're planning to go, but just know that the action is not confined to the stage. This made the show even more exciting, keeping things unpredictable along the way, and some younger members of the audience (a couple of whom were dressed as cats to mark the occasion) were thrilled to be unexpectedly involved in the production. There are other small touches in the show, including some nice comedy moments, which are spaced out enough that they leave the desired impact.

The only slight downside was that the story was a little unclear at times. You can tell roughly what is happening, but understanding exactly where the cats are converging and why certain characters are behaving or being perceived in a particular way can be a little difficult unless you are familiar with Cats from television or from a previous theatre showing. However, this is a minor point, because the production and performances greatly outweigh the occasionally-confusing story.

So, I am going to judge Cats on its true strength - the production. It would take nine lives to recap every single production element but needless to say, they all combine to provide an excellent night at the theatre. The well-written musical numbers (which are numerous and lengthy, meaning that the cast deserve tremendous credit for being able to learn all the lines along with the idiosyncrasies and the associated dance moves), the carefully-designed set, the simple yet effective costumes, the cool use of lighting effects, the neat use of props and the audience interaction which keeps theatregoers on their toes all deliver a fantastic package. Based on production, Cats is as good as it gets, and people of all ages will appreciate and love it (smaller children may get a little frightened!). Just sit back and enjoy the show - but don't take a cat nap, as you may find yourself unexpectedly interacting with some whiskered friends.

Meow!

Overall Rating: 9/10 - Outstanding

That's Entertainment

Image Source: British Theatre

Written By: Mark Armstrong

Format: Musical
Genre: Musical
Date: June 14 2016
Location: Liverpool Empire Theatre

From the same production team that brought us Puttin' On The Ritz (which you can see my review for by clicking here), That's Entertainment again adheres to the format of showcasing the most memorable musical hits from the mid-20th century - and the show does a very good job of rekindling fond memories for the older generation and introducing a younger audience to these classic songs.

That's Entertainment is enhanced by the involvement of The Overtones, who have firmly established themselves as one of the UK's leading vocal harmony groups. Whilst the other singers perform to a high standard, it is The Overtones who many theatregoers will head over to the Empire Theatre to see, and based on this showing, those spectators won't be disappointed: The Overtones provide unique and powerful renditions of some very popular songs, amongst them Runaround Sue, Can't Take My Eyes Off You and Give Me Just A Little More Time. The already-strong performances take a step up whenever The Overtones are on the stage, and those impressed will certainly be looking to see them when they go back on their own tour in the near future.

That being said, this tribute to 1940s and 1950s music wasn't just about highlighting The Overtones: there were talented performances across the board. Simon Schofield acted both as the host and the leading (non-Overtone) singer, and his vocal range was clear through a range of songs which ranged from the toe-tapping numbers to the slower and softer tunes to the catchy dance hits that had the audience clapping around. Loula Geater, Sean Smith and Emma Kate Nelson also demonstrated their musical talents, and based solely on the strength of the musical performances, the show didn't have a single dull moment.

As for the songs: those who are familiar with the leading hits of the pre-Beatles era will recognise plenty of tunes here. They included Good Morning, It's A Long Way To Tipperary, Puttin' On The Ritz (fitting, given that this was their previous show), We're In The Money, Get Happy and I Got Rhythm. There were also collections dedicated to Rodgers and Hammerstein (which included Some Enchanted Evening and There Is Nothing Like A Dame) and a section paying tribute to the legendary Rat Pack of Frank Sinatra, Dean Martin and Sammy Davis Jr. (this portion included Ain't That A Kick and That's Life).

Perhaps the musical highlight was the pre-intermission group rendition of You'll Never Walk Alone, which of course went down well in this Liverpool setting (especially for me, since I am a die-hard Red myself!). That being said, it was very well performed, although those with extensive musical knowledge will appreciate that this performance was not of the Gerry & The Pacemakers cover, but of the original version seen in Carousel. The words are the same, but the tones and the tunes are very different; watch this show and you'll understand. Either way, it was very good.

Other thoughts: I thought that the backdrops for the performances (a range of American nightclubs for Act 1, and a more intimate club stage setting for Act 2) were very colourful and exciting, and ensured that one's eye never drifted from the activity on stage. The dance moves were well-performed throughout, some by the singers and some by the large and very talented ensemble of dance performers employed for this production. The costumes were suitably stylish and tailored to the mid-20th century era of music (suits and hats for the male singers during the Rat Pack scenes, tuxedos and posh evening gowns for the early scenes featuring catchier dance numbers etc). And as a longtime Simpsons fan, I couldn't help but notice just how many of these famous tunes have been referenced in that series at some point, which raised a smile (I counted at least five, but there were probably more).

I did think that the show finished a little early (and without a traditional "extra" tune at the end, which might actually be a good thing given how often it occurs in most productions), and the lack of a true story thread may make it a little less appealing for those who are debating whether to attend; however, that is not even an issue once you sit down and watch the show.

Overall, then, I would give a strong recommendation for That's Entertainment. The older generation will love being able to relive fond musical memories, the younger audience will receive a valuable education on what genuinely good songs are, and for both groups, the vocal range of musical talents and the sheer quality of the performances, both from a singing and dancing perspective, is a joy to behold. Plus, you get The Overtones as an added bonus! That's Entertainment lives up to its name by providing a very enjoyable show, and a fun look back at what was a great era for music.

Overall Rating: 8/10 - Very Good

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

The Night Watch

Image Source:
At The Theatre

Written By: Kath Walton

Format: Play
Genre: Drama
Date: May 19 2016
Location: Royal Exchange Theatre, Manchester

After the carnage of world war two, five people are left picking up the pieces of a fragmented life left scattered amongst the debris of post-war London.

Sarah Waters’ harrowing historical fiction novel has been adapted by Olivier-nominated Hattie Naylor into a two act play that tells the stories of Kay, Helen and Julia, three lesbians, Viv, a straight woman, and her brother Duncan, a gay man. Told backwards from the ending to the beginning the plot reveals how their lives are interconnected through their relationships, their misfortunes and their secrets.

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Footloose

Image Source: Ents 24

Written By: Mark Armstrong

Format: Romantic Drama
Genre: Musical
Date: May 9 2016
Location: Liverpool Empire Theatre

Rocking and shuffling its way into the Liverpool Empire Theatre, Footloose follows the lead of its motion picture predecessors by presenting a story that is part-drama, part-romance and part-musical. The cast consists of many young talents, and as with the movies, the stage show is clearly aimed at the teenage market given the tone of the show and the relationship-based storylines.

Footloose tells the story of Ren McCormack (played here by Luke Baker), who having previously enjoyed life as a Chicago resident, is sent to live with his aunt and uncle in the much smaller town of Bomont, West Virginia. As he struggles to fit into his new surroundings, matters aren't helped by the fact that his Chicago background, his previously carefree attitude and his propensity to dance make him enemies very quickly, from the almost zealot-esque Reverend Shaw Moore (Nigel Lister) to the unpredictable yet generally harmless Willard (played here by 911 member Lee Brennan). But whilst a group of high school girls also take the time to regularly taunt Ren, one of those girls, Ariel Moore (Hannah Price) is clearly teasing Ren because she is developing a crush on him, much to the chagrin of her current boyfriend, the more rebellious and sinister Chuck (Matthew Tomlinson).

The plot thickens as the town begins to accept Ren for who he is, whilst he gets ever closer to Hannah. But those with authority continue to look at Ren with disdain, and his repeated attempts to instil the spirit of dance within the community are frowned upon due to a complete ban on dancing after an accident which took the lives of four young men, all of whom had a similar passion for dancing, five years earlier. Ren realises that the only way to get the town on his side, whilst also trying to liven up a generally dull community, is to propose a major dance event, but with a notoriously stubborn Reverend being the chief decision-maker, can Ren's big idea really become a reality? And how will things develop between Ren and Ariel with the dangerous Chuck on the scene? Events take an unexpected turn when a twist in the tale is revealed that has a widespread effect on all major plotlines, leaving the audience wondering how the story will reach a happy ending.

Throughout the story, we get a good amount of musical numbers, accompanied by major dance sequences. Of course, Footloose is the most memorable tune of the production (look at the name of the show), and thus it is this routine which is the strongest performance of the evening, at least from a dance perspective. Other popular songs include Holding Out For A Hero and Let's Hear It For The Boy, used during the overly-nervous Willard's attempts to learn the art of dance (which Peter Kay paid homage to in a similar, and rather funny, scene in an episode of Max & Paddy's Road To Nowhere).

Maureen Nolan, who plays the part of Vi, plays a surprisingly infrequent role in the show, and therefore has fewer musical moments than one might have anticipated although she lets her talents shine through during Can You Find It In Your Heart? Arguably the best singer in the show (or at least the performer who provides the strongest vocal performances of the production) is Hannah Price, who as Arial stands out in both the popular, funky dance numbers and also the quieter, lesser-known songs, such as Learning To Be Silent and Almost Paradise.

As for the acting: Nigel Lister does a very convincing job as the Reverend Shaw, whose authority and religious beliefs lead him to the conclusion that he is always right and that his power and opinions should not be challenged, regardless of the logic of those speaking to him. Luke and Hannah portray the young blossoming couple well, but the often-confused, low-on-confidence-yet-always-up-for-a-fight Willard character is probably the one who audiences will most remember; his personality takes a complete turn at various points, often during the same scenes, which leads to some funny moments.

The settings are realistic, from the Reverend's parish to the Bomont high school cafeteria and sports gyms, and the costumes are true to the attires used by characters on the big screen. And in an interesting twist, much of the music used to accompany big numbers are played by the characters themselves as opposed to a leading cast of backing musicians; yes, there are some unseen musical performers providing some support (such as David Keech, a very skilled drummer), but the performers themselves have a big hand in providing the music; for instance, the Chuck character plays both the guitar and the piano at different times.

The downsides to the show for me were that there weren't many laugh-out-loud moments, meaning that the comedic scenes largely did not reach the heights that had been anticipated; and the audio levels were unusually low in the early going, making it hard to hear the opening Footloose rendition and some of the conversations during Ren's move from Chicago to Bomont. Although this isn't a fault of the producers, I have to mention that the number of audience members coughing loudly during the quieter, more dramatic scenes near the conclusion was ridiculously high, to the extent that it almost became hard to hear what was being said during this part of the show either.

Footloose is definitely a show aimed at the teenage audience; everything about it feels like a high school story come to life on the stage, accompanied by some pretty cool music. Some of the language used makes this a show to perhaps avoid for the younger kids, and whilst the older generation will appreciate the production (especially those who remember the original movie released in 1984), the storyline and its intricacices may make them wonder what is going on at times. I enjoyed the show, and teenagers and the 18-30 crowd would definitely get a kick out of it, but I wouldn't say that this is an essential show to go out and see.

Overall Rating: 7/10 - Respectable

The Bodyguard

Image Source: Liverpool
Empire Theatre

Written By: Mark Armstrong

Format: Romantic Thriller
Genre: Musical
Date: April 27 2016
Location: Liverpool Empire Theatre

The Bodyguard left a lasting impression within seconds of the show beginning.

Unlike most shows, which have a slow and gradual opening - the type where the audience knows "Oh, the show is about to start" - The Bodyguard quite literally kicks off with a bang. I won't spoil it too much for those who plan to see the show, but I will simply advise potential attendees to be on guard, as you may be in for a bit of a shock. I know I was because I was drinking water at the time and ... well, let's just say that there was a lot less water in the bottle after the show's opening moments!

I had to mention that because it was such a memorable way to begin proceedings. But don't think from this that the show was uneventful or that the show was about comedy. While it did have light moments, The Bodyguard was a thoroughly gripping show, and it played out like a true thriller on stage. As with the movie on which the show was based, The Bodyguard took viewers on a journey that had a clear destination, with twists and turns ensuring that the outcome would be unpredictable.

Alexandra Burke, who won The X Factor in 2008, is cast in a near-perfect role by playing Rachel Marron, an American superstar singer who has previously been nominated for two Academy Awards but is now looking to make it third time lucky at this year's Oscars. Her sister Nicky (played here by Rachel John) is also a very talented singer, but one who doesn't get anywhere near as much attention as the more famous Rachel. But while there is tension and jealousy between the sisters, the bigger concern is that Rachel is receiving death threats from a stalker, who has a relentless pursuit to kill the star performer. So, a bodyguard by the name of Frank Farmer (Stuart Reid) is hired to protect her at all costs.

Frank takes his bodyguard duties extremely seriously, which initially breeds resentment from some, especially Rachel. But after a close call at one of Rachel's performances where Frank comes to the rescue, she starts to trust her protector more, and they even begin to develop a relationship. Which is to the dismay of Nicky, who having already felt neglected due to Rachel's popularity, has also developed feelings for Frank after he watched her sing at a local bar.

As the tension between the sisters continues, the relationship between Rachel and Frank has ups and downs due to the increased concern about her safety. Meanwhile, her stalker (played by Matthew Stathers) continues threatening Rachel and gets closer and closer to achieving his twisted goal. I won't talk any further about the plot, as it would include some big spoilers, but needless to say the Academy Awards remain Rachel's target, but will she make it there? And if she does, will she survive through the ceremony? (I could include a joke here about the dullness of certain award ceremonies but I won't.) And how will those around her be affected by the series of events surrounding Rachel, her fame and her stalker?

As noted, the storytelling is paced just right, ensuring that we get enough bright moments (through singing performances) to counter the more sinister and sad events of the show. The production provides suspense not just through the story itself but through the use of thriller techniques like sudden appearances, scary close-ups and tense music, which combined with a giant screen which shows relevant images and footage at various points add a lot of value to the show.

All involved play their roles well, but particular praise must go to Stuart Reid for his outstanding portrayal of Frank Farmer. Whilst mostly a serious character, he also manages to find the balance between ultra-serious bodyguard and approachable friend and associate (to Rachel and her son Fletcher, played here by Josiah Choto) just right, making him a far more believable and likeable character. Whilst Rachel has her doubts, Frank is always shown to have the right intentions, and never makes suggestions to protect her which seem unreasonable. Even when his position is called into question by him getting closer with Rachel, we don't see too much whereby his character is dramatically altered, and he quickly takes a stand before too much damage is done. What's more, during one scene whereby Rachel convinces him to sing at a karaoke bar, he delivers a deliberately poor yet entirely believable and humorous performance, which is actually a difficult thing to pull off in a show that has a largely serious tone. When it comes to acting, Stuart is the star of the show.

When it comes to singing, however, Alexandra Burke truly shines as Rachel Marron. The opening scene is very X-Factor-esque, but from then on Alexandra truly becomes Rachel and perfectly steps into the shoes of the Oscar-nominated performer. Her acting is very good, but it's her singing which will blow audiences away, even for those who already know of her as a very talented singer. The show includes the famous numbers from the movie including I Have Nothing, Run To You and, of course, I Will Always Love You (which Alexandra performs spectacularly in the highlight of the evening), but the rest of the soundtrack in the theatre is largely based around the work of Whitney Houston, who played Rachel in the 1992 film. I'm Every Woman, I Wanna Dance With Somebody (repeated in a high-energy encore at the very end), Saving All My Love and Million Dollar Bill are amongst the tunes, and Burke does a tremendous job of, at these points, stepping into the shoes of Whitney Houston.

It should also be noted that, mirroring the story of the show, Rachel John is also a superb singer during the scenes when she gets to display her vocal range (particularly the slower and more emotional songs); anyone watching this will obviously be impressed by Alexandra, but Rachel John's singing will also leave a lasting impression and, in any other show (or possibly even this one), would be considered the best singer of the production. And Max Fletcher does a fantastic job during his less frequent scenes as Fletcher, Rachel's son, by simply being an innocent kid, at times oblivious but at other points keenly aware of the events surrounding his family. There are minor differences between the movie and the show besides its soundtrack, but I won't list them here as they include plot spoilers, and they should not affect your enjoyment of the show if you have also previously seen the film.

To conclude, I thought that The Bodyguard show was exceptional. The story is well-paced and told very clearly; every key performer plays their part very well, especially Stuart Reid as Frank Farmer; the tension and suspense is produced brilliantly (look at the intro for proof of that); and the singing is absolutely first-class. Whitney fans will particularly enjoy what at times feels like a tribute to her career, and those who watched the film may decide that this theatre incarnation is even superior to the movie. Definitely go and see The Bodyguard; it is one of the best shows that I have seen this year.

Overall Rating: 9/10 - Outstanding

Thriller Live

Image Source: Thriller Live

Written By: Mark Armstrong

Format: Musical
Genre: Musical
Date: April 11 2016
Location: Liverpool Empire Theatre

A Michael Jackson show is always likely to be a Thriller, but there is a chance it could be Bad. You'd probably enjoy it whether you're Black Or White, but if you wouldn't, you might Blame It On The Boogie. Understanding the plot of such a show is as easy as ABC ... okay, I'll dispense with the awful Jacko puns now. (Especially since it would have been nearly impossible to find one for Earth Song.)

Thriller Live takes an energetic, entertaining and exciting look at the career of the legendary Michael Jackson. Beginning with his time in The Jackson 5 with early Motown songs, it moves onto his shift to disco music before focusing on his most famous hits (and there were many) from the 1980s and 1990s. Of course, Michael is no longer with us, so for this tribute to MJ, the songs are provided by a range of singers, along with extensive dance teams to ensure that the performances are as authentic and true to Michael's memory as possible.

With the exception of the show's biggest tunes, this production does not try to make you feel like you are watching Michael Jackson live or The Jackson 5 live. By that, I mean that those singing Michael's songs do not try to dress up like him; some singers bear no resemblance to him at all. As noted, though, from a visual standpoint we do get that "Michael performing live" feel towards the end through the dance work of the outstanding Sean Christopher, whose moves are as close to Michael's as you could ask for. The costumes are very realistic, especially for the dancers, and the clever use of props (such as scary headstones for Thriller and spray-paint to introduce the performance of Bad) adds a lot to one's enjoyment of the show.

And don't let the lack of Michael get-up fool you: the singers themselves are very good. In particular, Rory Taylor does a great job on the slower, more high-pitched numbers; his rendition of She's Out Of My Life is a show highlight. That being said, the remaining singers - Angelica Allen, Adam J. Bernard and Shaquille Hemmans - are also strong vocalists, and during some of the faster, funkier tunes, they involve audience interaction through simple yet effective techniques that resulted in a huge level of noise in the Empire.

Of course, Michael prided himself on being a quick-moving, eye-catching performer, which is acknowledged by the fast pace of the show as a whole, the almost non-stop action from the backing dancers and the bright, colourful screens which provide cool backgrounds (like the cemetery for Thriller), striking images (such as some of the animals referenced in Earth Song) and some additional contributions (e.g. a young child singing Rockin' Robin). The stage remains a pop concert-like staircase throughout, but the props and screens do make you feel like the environment is changing in line with the songs.

But, of course, the show is really all about the music. Jackson fans will know all of his greatest hits and will therefore love the show for those alone, but for the more uninformed attendees, you will recognise a ton of songs, including ABC, Rockin' Robin, Blame It On The Boogie, Can You Feel It, Shake Your Body Down To The Ground, Don't Stop Till You Get Enough, The Way You Make Me Feel, Smooth Criminal, Earth Song, Billie Jean, Thriller (of course), Bad, Black Or White and so many others. You Are Not Alone was a notable omission, but otherwise all of the expected times are here, and they are almost all performed very, very well.

As stated earlier, Thriller does not try to act as a Michael Jackson tribute show. It instead pays tribute to Michael Jackson, which it definitely succeeds at doing. With the great music, strong singers, excellent dancers and colourful backdrop, this is a brilliant journey through the legacy of The King Of Pop that I would recommend to any Jackson fan.

Dare I say that the show really was a Thriller?

Overall Rating: 8.5/10 - Excellent

Snow White and The Seven Dwarfs

Written By: Mark Armstrong

Format: Pantomime
Genre: Comedy
Date: March 25 2016
Location: Epstein Theatre, Liverpool, England

It's Easter time, which can only mean one thing: it's panto season!

Well, okay, that's usually around Christmas time, but over the last few years, Easter has become an additional point of annual pantomime, led on a local level by the Epstein Theatre and their latest production (well, as created by LHK Productions), Snow White.

Now, I've attended several Epstein pantos so I kind of know what to expect in regards to the general structure and the overall story, although this one had the benefit of some surprise characters and several classic sing-a-long tunes to be incorporated into the show. And, of course, anyone who has attended previous pantos will expect a child-friendly story of good vs. evil, almost always giving the audience the desired happy ending (imagine the tears in the theatre if it had a sad conclusion).

Snow White follows the story of, erm, Snow White (played by Georgia Austin), who having been mistreated by her evil stepmother the Wicked Witch (played by Debi Jones) is unexpectedly informed about the incoming arrival of Prince Charming (played by James Hill), who is planning to marry "the fairest lady of them all". Of course, the haggard old witch knows that Snow White has her beat in this department, so she orders her henchman (Tom Burroughs) to take Snow into the forest and have her killed. But he can't bring himself to do the dirty deed, and so Snow is instead told to run for her life, in the hope that she will find safety and somehow be connected with the Prince in the future.

Cue music numbers, both those relevant to the story and some pop tunes interweaved into a few bonus dance scenes (which feature a cast of more than a dozen young dance performers), the casting of director Michael Chapman in his regular role as a drag artist with a risqué sense of humour (his character here is Dame Debbie, or Double D - yes, that's a pun), the starring of Muddles (Lewis Pryor) as Debbie's dim-witted yet likeable son, the use of a fairy (Olivia Horton) to introduce parts and key scenes, and some cameos by Ricky Tomlinson on The Magic Mirror (incidentally, Ricky was sat a few rows in front of me, so at certain points I was watching Ricky watching Ricky, which was a bit surreal), and a whole host of jokes which varied from being kid-friendly to some adult-themed double entendres that would have flown over the heads of the younger ones. Oh, and there were seven dwarves too.

Unfortunately, though, the viewing experience of this particular pantomime was not on the level of previous pantos, and that was due to the poor audio quality. I was sat in the upper deck for this show, and for much of the show I could barely hear what the characters were saying, from the plot-moving announcements to the frequent one-liners. Things did improve in the second half but only slightly, which obviously meant that the story couldn't be followed as easily (although the plot is a relatively simple one), and more importantly many jokes couldn't be heard, including Ricky's contributions on the Magic Mirror. For that reason, one could not enjoy the show in the same way that I had with other pantos, at least not from my seating point.

The performances were good, though. Dame Debbie provided plenty of laughs as usual, and Muddles had some clever jokes as well. Georgia Austin did a fine job playing the damsel in distress that is Snow White and her singing was pretty good, making her the stand-out performer of the night. As stated, Ricky was quite funny when you could hear him (he seemed to be cast as Jim Royle as opposed to Ricky Tomlinson, not that that is a bad thing), whilst James Hill initially seemed nervous but eventually settled into the Prince Charming character. And Burroughs played the Henchman well, at times having some funny lines of his own. There was also the regular interlude whereby Chapman, in character, invited young children on stage to win some prizes, which due to the unexpected nature of the kids is usually a show highlight, as it was here.

There were some other slightly dodgy aspects of the production (some curtain movements and lighting changes happened in such a way that you knew they weren't meant to happen, one or two characters muddled up their lines or dropped their props, and the dwarves were oversized which, while making the dwarf costumes look lifelike, actually made them bigger than the main characters). On the bright side, speaking of costumes, the attires were very good, especially for the closing wedding scene and, of course, Snow White's costume throughout most of the show. The sets were kept simple and, to that end, were true to the story.

Overall, then, the kids should enjoy the story of Snow White as told by this production, and the adults should have a good time as well due to Debbie's more risky jokes. My only advice to theatregoers is that they try to sit in the lower deck so that they can take in more of the show than I did, at least from an audio standpoint. Had the sound not been such a major issue, the rating below would probably be a lot higher.

Overall Rating: 7/10 - Respectable