Theatre Review: Jersey Boys, Empire Theatre, Liverpool

Image Source:
Brinkhoff & M+Âgenburg

Written By: Mark Armstrong

Format: Musical
Genre: Comedy Drama
Date: January 11 2018
Location: Empire Theatre, Liverpool

Jersey Boys is the crème de la crème of theatre musicals. The story of how Frankie Valli, Tommy Devito, Bob Gaudio and Nick Massi became huge stars as The Four Seasons with one hit after another, only for it all to fall apart (largely because of Tommy's financial problems) is a compelling and cautionary tale, but it is the songs themselves, and the performances of said songs by the cast, that make this one of the most famous shows in the world, spanning from Broadway to the West End and from Toronto to Tokyo.

I had previously seen the Jersey Boys in 2015, and at the time I believed that it was the best show I had ever seen. Upon its return to Liverpool Empire as part of a second UK tour, I was excited, and though I probably enjoyed the previous incarnation more (most likely because it was all new to me), the latest version hits all of the right notes (quite literally), making for a fantastic night at the theatre once again.

The tone is set early on for a story involving music, sex, money, glory and tragedy. It's divided into four sections (for The Four Seasons, of course), with each character serving as the narrator for each quarter. Tommy Devito (Simon Bailey) handles the first part, Spring; Bob Gaudio (James Winter) covers Summer; Nick Massi (Karl James Wilson) narrates Fall; and Frankie Valli (Michael Watson) runs through Winter. The band name makes the use of seasons to describe the chapters a wise one, and it also ties in with the fortunes of the performers: they spring to life, they enjoy something of an Indian summer, before they ultimately fall apart, and the winter represents darkness with Frankie learning of his daughter dying from a drug overdose. It also allows each member to tell the story from their perspective, at a time when they were playing a central role in the plot.

As for the story itself: we begin with Tommy Devito explaining the early days, before they were The Four Seasons, and before they even had four members. We see multiple scrapes with the law, as well as how Tommy initially discovered Frankie; crucially, Valli already had the voice, but it was Devito who paved the way for him to become a star, which becomes a debate between the two as the show rolls on. After some members decide that the spotlight isn't for them, Bob enters the picture, and shortly thereafter, the Four Seasons are truly born.

Well, they were born, but they still weren't making enough noise to make a difference in the music industry. It took just one hit (not a song, but a hit) to radically change their lives, that hit being Sherry. Big Girls Don't Cry proved that they weren't one-hit wonders, and further triumphs came from Walk Like A Man and December 1963 (Oh, What A Night).

Everything seemed rosy, but Tommy's massive spending and even larger loans from local "helpers" would ultimately lead to the downfall of the group. Ultimately, the band has major decisions to make, and though Frankie especially would continue to thrive as a star, it wasn't until 1990, and their induction to the Rock 'N' Roll Hall Of Fame, that they would share the stage again and reunite, for what turned out to be their final bow.

There are tremendous performances throughout. From an acting standpoint, Simon Bailey as Tommy Devito is probably the star, mainly because he has to demonstrate a wider range of emotions through the variety of situations he encounters, from the wise guy setting up the group, to the confident, controlling ring-leader to the joke-cracking, high-pitched singer to the emotionally drained figure of denial. However, all four are outstanding singers, with Michael Watson in particular receiving the opportunity to shine as he brings to life the one-of-a-kind vocal talents of Frankie Valli. Other background performers demonstrate their own abilities, but it's undoubtedly the quartet, and especially Watson, that leave the strongest lasting impression. The production is excellent as a whole; the fact that I can't really think of any negatives to the show says it all.

If I had to sum this show up, I would simply state that if you only ever go to one theatre show, it has to be Jersey Boys. The story is gripping, the acting is excellent, and the singing is incredible. It's the ultimate theatre experience ... Oh, What A Night indeed!

Overall Rating: 9.5/10 - Classic

Pantomime Review: Cinderella, Empire Theatre, Liverpool

Image Source: Mark McNulty

Written By: Mark Armstrong

Format: Pantomime
Genre: Comedy
Date: December 19 2017
Location: Empire Theatre, Liverpool

The Empire Theatre has always been at the heart of Liverpool's pantomime scene during the festive season, and the venue delivers another panto-tastic experience for all the family with Cinderella.

The story is well-known: Cinders (Olivia Sloyan) struggles to make headway in her life because of her two wicked step-sisters (Daniel Taylor, who plays Hernia, and James Templeton, who plays Verruca), but a chance meeting with Prince Charming (Duncan James), accompanied by his servant Dandini (Scott Mobley), changes that. Not to mention the intervention of both her friend Buttons (John Evans) and The Fairy Godmother (Jodie Prenger), both of whom help Cinderella to keep her head up and her hopes high for a better future.

That appears to come when the Prince, himself looking for love, announces a grand ball, partly so that he can properly meet Cinderella. Hernia and Verruca do their best to foil Cinders' chances of attending, but The Fairy Godmother again provides assistance, which allows Cinders to go to the ball. Then ... well, you probably know the rest from that point onwards.

John Evans as Buttons is the funniest performer on the show, as well as being the character who does the most work and appears in the most scenes. His first appearance takes on a stand-up feel, but it's his exchanges with the other characters which really get the big laughs, particularly when the likes of The Fairy Godmother are trying to keep a straight face when speaking to him. Indeed, for the adults at least, John is the performer they're most likely to remember when all is said and done.

Elsewhere, Jodie Prenger and Olivia Sloyan are very good singers, and of course, the singing is elevated further by the presence of Duncan James, best known away from the pantomime scene for being a member of Blue. Beyond that, certain scenes deliver a lot of laughs, and the deliberately Scouse lingo (with insults like "blurt" and "melt" coming out of nowhere) by Daniel Taylor and James Templeton provide additional unexpected giggles. The production standards are also very high, with extravagant lighting, excellent settings (particularly for Prince Charming's ballroom), and one particularly memorable scene that takes us into intermission, which I won't spoil here (hint: it is horse-related).

On the downside, the show started pretty late, and it took a bit of time to get going. Also, some of the lighting was occasionally too strong, with a couple of the lights situated near the front of the stage giving off a blinding effect on more than one occasion. And the younger dancers played an unusually minor role in proceedings. Still, there was a lot more to like about this show, from the hilarious scene where Muddles uses actual song lyrics to describe how he's feeling to the exceptional costumes donned by all, particularly in the second half.

With Christmas just days away, there is still plenty of time for you to bring the family along to see Cinderella; you'll have a great time, I can assure you.

Overall Rating: 8/10 - Very Good

Theatre Review: Crazy For You - Empire Theatre, Liverpool

Image Source: ATG

Written By: Mark Armstrong

Format: Musical
Genre: Comedy
Date: December 8 2017
Location: Empire Theatre, Liverpool

A love triangle within a musical is as old as the theatre industry itself, but when the two men involved are the same person??? That's something different, and this forms a major arc for Crazy For You.

The greater emphasis of the show is about the run-down Gaiety Theatre in Deadrock, Nevada which is threatened with closure by the banking authorities of New York. Chief to this is Bobby Child (Tom Chambers), who after a failed dance routine to impress Bela Zangler (Neil Ditt), the head of the Zangler Theatre in his hometown, is sent by his mother to Deadrock to carry out the impending takeover of the venue. This angers the feisty Polly Baker (Charlotte Wakefield), a talented theatre performer in her own right, who vows to never speak to Bobby Child again. As the Deadrock community band together to try and save Gaiety Theatre, though, Bobby develops a crush for Polly, but his advances are spurned.

Cue Bobby taking on the role of Bela Zangler, pretending to be the head of the New York theatre in order to help Polly and friends put on a show that would save Gaeity Theatre, whilst also getting an opportunity to become romantic with Polly herself. This goes ahead, and as Polly starts to feel attracted to "Zangler", everyone works on bringing this show to life as a means of saving the venue.

Unfortunately, the show is a flop; only two people turn up to see it, and even they aren't actually there to see the show. The disappointment felt by all changes into optimism as "Zangler" convinces everybody to try again, with the belief that next time they try to launch the production, it will be a real success. That becomes the focus, and Polly is getting ever closer with "Zangler" ... until the real Zangler comes to town, and all kinds of slapstick comedy and confusion ensues.

The tone is light-hearted throughout, even during the moments when things are not looking good for the central characters. Multiple identities as a means to finding love and saving the theatre make for an interesting twist, and lead to some amusing situations once the real Zangler turns up (including a scene where he and Bobby, both dressed the same, perform something of a mime act as they do the exact same movements, almost becoming mirror images of one another). The scenes themselves are funnier than the dialogue, though there are a few choice one-liners throughout the production. Charlotte Wakefield is believable and likeable as Polly, and Tom Chambers does a great job when you consider that he is essentially playing two of the show's main characters. The supporting cast are very good, and it's worth noting that this show does not have an orchestra; all of the backing instruments are played live by cast members who are a visible part of the story.

It's also interesting to see a story about a theatre within a theatre; though old-fashioned and Americanised, it acts as a guide for any other theatres which may be struggling, and how the right show with the right performers can reverse the fortunes of the venue tenfold. The settings are well-crafted, and at times Chambers is required to climb and almost fall from fairly notable heights, adding a slight feeling of suspense to activities. The only disappointing aspect, which would be more from the perspective of the crew themselves, is that Crazy For You suffered from the challenging winter weather conditions (and the opening night not happening due to technical problems), meaning that fewer people than normal were able to experience this particular production.

Summing this one up, Crazy For You delivers a lot of entertainment with a nostalgic feel, and is a feel-good show for older audiences in particular to enjoy as we head into the Christmas season.

Overall Rating: 8/10 - Very Good

Theatre Interview: Charlotte Wakefield - Crazy For You, Liverpool Empire Theatre

Image Source: West End Frame

Written By: Mark Armstrong

Crazy For You dates back to 1992, when it first came to life on Broadway. Since then, the show has received several incarnations around the world, including two runs on the West End. Now, the production is touring the UK, and the Liverpool Empire Theatre is about to experience the show for the first time. We spoke to Charlotte Wakefield, one of the key performers in Crazy For You, to discuss the show, her character Polly Baker, and her successful theatre career thus far!

First of all, tell us about the plot of Crazy For You.

It's a story of love and mistaken identity. It's about a town in Nevada called Deadrock, and they have a fantastic theatre which is in disrepair. I play Polly Baker, and her family has a theatre, but they can't keep up with the payments on the mortgage. And then you've got Tom Chambers who plays Bobby Child; he's a banker in New York, and he is sent to Nevada to claim the theatre for the bank. It then turns into this brilliant love story, which features lots of slapstick humour in an attempt to save the theatre. It's a great show with a great story.

Tell us more about your character Polly Baker.

Polly Baker is a headstrong, feisty cowgirl, essentially. She's the only woman living in a town of all men, who work very hard and who are very lazy, and she runs the theatre/post office. So, she's a feisty, independent woman, and she falls in love!

Have you always been a fan of theatre?

Oh, absolutely! I grew up going to the theatre, listening to Disney movies and watching all the films on video, as it was then. I grew up loving the theatre, and also doing this; I've worked professionally as an actor since I was 10, so I've been doing this a very, very long time. I just love it!

I understand you have appeared in such television shows as The Royal, Waterloo Road and Holby City before you broke into theatre?

Yeah! So I started in film, and then I moved into television. I did things like The Royal, and then I was a semi-regular on Holby City, and I've done Waterloo Road, big BBC dramas. So, I've been involved in a few areas. The one thing I haven't done is radio; one day, I will do radio! As I say, I was a semi-regular in Holby City for 9 months, so Tom Chambers and I come from the same world! (Laughs)

On the subject of television, would you ever be interested in appearing on any reality shows, and if so which ones?

No, not really. For me, theatre is enough! (Laughs) Obviously, Tom did extremely well on Strictly Come Dancing, but for me, I feel like I am happy pretending to be somebody else. Maybe one day, I might be asked to do Strictly, that would be lovely! But for now, I think I am happy playing other people! (Laughs) I do like watching them; I do watch Strictly and all of those reality TV shows, and they're fantastic, but I think that right now, they're not for me!

What would you consider to be the highlights of your career in theatre thus far?

I have two Laurence Olivier award nominations, and they are often described as being the Oscars for theatre, so it's pretty intense. I got my first nomination when I was 19, and I got my second nomination when I was 22. The first one was for Spring Awakening in the West End, and the second one was for playing Maria in The Sound Of Music, which was in an open-air theatre. For me, it was confirmation that I should be doing this, because I had no training; I kind of got into theatre by accident, so it was affirmation for me that I deserved to be here. I worked really hard, and it was brilliant to be in the company of the finest actors in our industry. So, I think that would definitely be the highlight for me.

What are the biggest shows that you've performed in to date?

Well, they've all been pretty big actually, I've been really lucky! Spring Awakening was pretty big; that came over from Broadway in 2008 with the original London company. That took a year-and-a-half to cast, so that was quite intense. I've done Mamma Mia: I did Mamma Mia on the international tour and then in the West End. Then, I did Chitty Chitty Bang Bang last year. So, I've been lucky; all of the shows that I've done have been on a pretty big scale. I'm very lucky! (Laughs)

What are your future ambitions within theatre?

I've been very lucky to have ticked off a lot of my dream roles. It just depends on the way I'm going. I love creating roles; I would love to originate a character and work on something that's new. So, just keeping on the same path that I'm going, really. I'd love to eventually be a household name in theatre, that would be lovely. I think everybody dreams of that. Like I say, I've been very lucky so far, and I would be happy to continue the way that I'm going.

Finally, why should the Liverpool audience come to see Crazy For You?

It gives you everything that you could possibly ever want. There is a brilliant story, fantastic comedy, the song-list is endless, and the live music is being played by the ensemble live on stage. Now, this is what we call an actor-musician show, so the ensemble play all of the instruments; the orchestra all perform live on stage which you can see, so that is very special, as you don't get that in every musical. So, if you want a fantastic night at the theatre and also to be blown away by the level of talent amongst us guys, then come and see Crazy For You; it'll be fabulous!

Crazy For You runs at Liverpool Empire Theatre from Tuesday December 5 to Saturday December 9. To book your tickets, click here.

Theatre Review: War Horse - Liverpool Empire Theatre, Liverpool

Image Source: ATG

Written By: Mark Armstrong

Format: Play
Genre: Drama
Date: November 15 2017
Location: Liverpool Empire Theatre, Liverpool, England

With the Remembrance Day services having taken place last weekend, and with next year marking 100 years since the end of World War One, it seems like a fitting time for War Horse to come to the Liverpool Empire. Since the show's inception, War Horse (a stage adaptation of the 1982 book, with the West End incarnation inspiring the movie, released in 2011) has gained a reputation for being one of the most compelling and emotional stage shows ever performed, and so there was a great deal of anticipation for its current run in Liverpool.

Fortunately, I can confirm that the show, which is based on a true story, is superb. Of course, it helps to have either seen the film or read the book, or at least to have some knowledge about the atrocities of the First World War to provide context. But even those approaching this show cold will appreciate the touching story, the incredible performances and the first-class production values which all come together to deliver a fantastic theatre experience.

The show begins with the auction for a young foal in Devon, where Ted Narracott (Gwilym Lloyd), a local drunk who has the reputation of a coward for refusing to battle in previous conflicts, outbids his much richer and higher-class brother Arthur (William Ilkley) to buy the horse for 39 guineas, simply out of spite. Unexpectedly, his bid (the last of many) is not matched and he has to keep the horse, much to the chagrin of his wife Rose (Jo Castleton). However, Albert (Thomas Dennis), their son, offers to look after the horse and train it for an eventual sale.

In the meantime, Albert develops a strong bond with the horse, who he has named Joey. As we see the progression of time, Joey evolves into a strong, fast and likeable horse, though challenges come on occasion. During one of his drunken moments, Ted whips the horse, and Joey's reaction (kicking back at Ted) is a sign of things to come later on. In addition, in another foolish bet, Ted agrees to sell Joey to Arthur in the event that the horse cannot plough within a week, with the incentive that Ted is paid his 39 guineas back in full by Arthur if Joey succeeds. After intense training by Arthur, Joey ultimately manages to plough on the day, and so Ted is rewarded in kind (though Rose immediately takes control of the money for the family mortgage).

Just as they are celebrating, though, news of the outbreak of World War One is confirmed. Arthur pays little attention at first, until Ted decides to sell Joey for £100 (a huge amount in 1914) to the British Army, who promise to look after the horse. But Arthur is shocked and saddened, and unsuccessfully attempts to sign up for the Army to stick by Joey, as he is under age (16 at that point). A few months of the War pass by, and at Christmas 1914, Ted and Rose purchase a bike for Arthur as a way of compensating for Joey's absence. But when news trickles through that the horse's new handler, Lieutenant James Nicholls, has been killed in action, with sketches of the horse sent back to Arthur as a way of remembering James, Arthur cannot take anymore, and cycles away to enlist, much to the dismay of his family, in the hope of somehow finding Joey. Along the way, he discovers the true realities of life on the battlefield, while Joey's own experience of War takes many twists and turns.

It's a story that anybody who has had relatives within the Army, either in past Wars or in modern conflicts, can relate to, since we are shown excruciating moments of attacks, killings, captures and emotional breakdowns. Any animal lover will also relate to the story, since the bond between Arthur and Joey is very strong, and one can only imagine how they would feel if their prized possession was taken away from them under the proviso that it will be looked after, only for it to become clear that the truth is far different, albeit unintentional. The title of the show obviously hints at where the story is going, but even before the outbreak of war, the production is compelling; of course, it truly hits its stride once Joey and later Arthur become a part of the British Forces.

The performances are as good as you could possibly expect. Thomas Dennis as Arthur was the star of the show to me, going from a happy-go-lucky, almost dim-witted youngster to a quickly-maturing fighter who takes command at the most trying of times with the lives of his comrades at stake, as well as somebody whose love for the horse cannot be broken, regardless of the danger to his life. He is funny and likeable, but also strong and caring. His acting during the scenes which tug the hardest at one's heartstrings is incredibly dramatic, and by the end of the show (which I won't spoil here), many of the audience are in tears due to the sheer emotion, partly created by the performances of all involved, but especially Arthur.

Production-wise, in some ways things are kept simple. There are no true settings as such, with basic items like a doorframe providing the only true backdrop. It's the visual effects which bring us into specific environments, with crew members holding up fences during the auction, laying out barbed wire on the battlefield, and as grim as it may read, the laying of fallen troops. We also get a screen shaped in the form of a slightly torn scroll, which takes us through the timelines, into particular locations, and generally adds to the old-fashioned, War-time feel. Occasional singing by Bob Fox provides further context, and based on what we are witnessing during many scenes in the second half, these almost-haunting renditions only add to the high emotional stakes.

But of course, everybody is coming to see Joey. The horse is a life-size puppet (and a very impressive one at that), whose every motions from a gallop to a turn of the head are controlled by several cast members, who even provide the grunts and neighs of the creature. It's quite a sight to see the horse, but it's perhaps even more incredible that we, the audience, treat the horse as if it is a real-like animal, wincing when the puppet is put in danger, and tearing up when Joey's fate is put under threat. It was a wise move to not only have Joey represented by a huge puppet, but to also have its crew visible throughout the show; not unlike The Lion King, it adds rather than detracts when we are continuously seeing the sheer effort that the cast are putting in to give us the most authentic recreation of Joey that is possible. This method is also used for other creatures, such as flying crows and, most notably, a small goose, which provides a few moments of mirth simply by behaving in the manner of a regular, almost-annoying creature.

The only downside that I thought when coming away from the show concerned the Ted character. Gwilym Lloyd does a cracking job of playing him, but one adopts a very negative attitude to someone whose alcoholism and desire to outwit his brother leads to most of the show's struggles, from the family taking ownership of Joey in the first place to the bet involving Joey ploughing to Joey and, consequently, Arthur becoming part of the war effort. Though the show attempts to bring to life the original book as closely as possible, a moment of clarity for Ted where he realised the true consequence of his actions would have been a positive addition, since Ted's character remains a symbol of negativity throughout, and in the end, nothing changes our perception of him. I should also warn anyone with children that this is obviously a very emotional and occasionally startling show (the gun shots had the audience jumping on many occasions), so I would not recommend that young kids attend this production, given the heavy toll of what happens on stage.

For older children and especially for adults, though, War Horse is an exceptional production. It's one of those shows that every theatre-goer should see, but also anyone with an interest in British history and in discovering the true impact of the battlefield on those who enlist. It's easy to forget that many, many horses were involved in World War One, so it's very cool to see an extended portrayal of what one horse and its owner went through during the conflict. Overall, War Horse is brilliant, and a show that I highly recommend that virtually everyone should see while it is being performed at Liverpool Empire over the next few weeks.

Overall Rating: 9/10 - Outstanding

Theatre Review: Eugene Onegin (WNO) - Liverpool Empire Theatre, Liverpool

Image Source: ATG

Written By: Mark Armstrong

Format: Opera
Genre: Drama
Date: November 9 2017
Location: Liverpool Empire Theatre, Liverpool, England

The Welsh National Opera (WNO) recently brought their newest opera performance, Eugene Onegin, to the Liverpool Empire Theatre.

Originally written by Pyotr Ilyich Tchaikovsky, and first performed in Moscow way back in 1879, the focus of Eugene Onegin is the character after which the show is named. Tatyana, the daughter of Madame Larina, happens to meet Eugene by chance, as he visits her house alongside his friend Lensky, who happens to be the fiancé of Tatyana's youngest sister Olga. Having been in the process of reading a romantic novel, Tatyana soon realises that she has fallen in love with Eugene, and after telling their home nurse Filippyevna that she cannot sleep about her feelings, she sits up all night writing a letter to Eugene to express her love for him.

However, when Tatyana sees Eugene again, he makes it clear that he is not interested, being unsuited to marriage and advising Tatyana on how to express such feelings in the future, which breaks her heart. It becomes the talk of the town, including at a ball for Tatyana which Eugene attends. As a reaction, Eugene tries to dance and flirt with Olga, much to the disgust of his soon-to-be-hitched friend Lensky. A verbal confrontation between the two friends shocks everyone at the ball, and ultimately the stage is set for a duel. But while Eugene comes out on top there with a gunshot, the killing of his best friend weighs heavily on Eugene, as does the fact that the subsequent years are irrelevant within his life, convincing him to go home.

By this time, though, things have changed. Tatyana has now matured, both physically and emotionally, and of particular note, she is now married to Prince Gremin. Eugene is shocked to see how Tatyana has changed, and Tatyana is even more overwhelmed when she spots Eugene. Eugene realises that he does now have feelings for Tatyana and tries to tell her by visiting her house, but it's clear that he will not get what he wants. Although Tatyana admits that she still loves Eugene, she emphasises that circumstances would not allow the two to be together, and ultimately as the show ends and Eugene breaks down in tears, he realises that his own character flaws and misguided decisions have led to him being alone as opposed to the lady who once expressed her love for him.

As is the case with WNO productions, the opera singing is of a high standard, which of course carries the dialogue and much of the acting. Natalya Romaniw is very impressive as Tatyana, and her vocal renditions are probably the strongest across the show as a whole. But Nicholas Lester also does a fine job as Eugene, going from the unmoved, almost-emotionless character of the first Act to the psychologically-fragile, weakened man of the final Act. The settings are absolutely stunning: though the Acts have short breaks as scenes are switched around, it is worth it when you see the lavish surroundings of Madame Larina's ballroom, the ice-cold backdrop for the duel between Eugene and Lensky, and in particular the noble architecture that recreates Prince Gremin's palace. True opera fans will recognise the songs, and for those who do not (bearing in mind that the entire show is performed in Russian), a handy screen showing English translations is situated above the stage.

In terms of downsides: the show lasts almost 3 1/2 hours from start to finish, which is incredibly long. This includes two intervals and several mini-breaks for scene changes, but I felt that it could have been trimmed down significantly; removing the second interval, which takes place around 150 minutes into the performance, and shortening the second scene of Act 1 where Tatyana speaks to Nurse Filippyevna in her room (which in itself lasts almost 30 minutes in total), would have downsized the running time significantly, and made for a better overall experience for the audience. Though it's a minor thing, I think the subtitles screen should have been lowered a touch: bear in mind that the vast majority of the audience will be reading them, meaning that they would have to bob their heads up and down many, many times during the production. Having the screen a touch lower would have made this a bit easier without compromising the show itself.

Otherwise, though, the WNO team treated the audience to a strong portrayal of one of Tchaikovsky's best and most-loved works. For those that really have a passion for opera, they will have come away from here feeling mighty pleased, but even those who are new to one of the longest-running forms of art and culture in British society will appreciate the effort and the talent on display in this thoroughly enjoyable retelling of a classic story.

Overall Rating: 8.5/10 - Excellent

Theatre Review: Flashdance - Liverpool Empire Theatre, Liverpool

Image Source: ATG

Written By: Alison Jones

Format: Musical
Genre: Romantic Drama
Date: October 16 2017
Location: Liverpool Empire Theatre

Well, the audience that first appreciated Flashdance are probably a bit long in the tooth for leotards and legwarmers these days, but we were transported back to the early 80’s without too much of a problem. I even sighed for my permed hair (maybe not ...)!

This performance didn’t have a slow-burn start; we were straight into an energetic music and dance number – Flashdance ... What A Feeling, and off we went!

The story of Alex Owens, played by Joanne Clifton, was central to the show, and her daytime job as a welder and by evening a dancer in Harry’s club; however, her real dream was to become a ballet dancer. Joanne’s performance was outstanding, with powerful singing and dance moves which highlighted her Strictly Come Dancing champion credentials. Leading man Ben Adams played Nick Hurley, the new boss at Hurley’s Engineering, very successfully with crystal-clear vocals and a very convincing American accent!

The supporting cast backed it all up magnificently. The side story held its own, with great performances from Hollie-Ann Lowe as vulnerable dancer Gloria trying to become a video star, enticed away from the safety of Harry’s bar by the sinister CC, played by Matt Concannon. Amazing dancing performed by the other cast members made it difficult to single anyone out for a special mention, as they were all so professional and entertaining with lifts, backflips and moves that would leave the Strictly judges open-mouthed - as we were that evening.

Superb lighting effects, no over-acting and brilliant singing made for a great show. Everything comes good in the second half, and by the reprise at the end of the show, everyone had jumped to their feet clapping and singing along to all the classics Maniac, Gloria and What a Feeling. Pure energy and very joyful. I might have to get my off-the-shoulder sweat top out!

Overall Rating: 8/10 - Very Good

Theatre Review: Joseph

Image Source: Liverpool Live TV

Written By: Mark Armstrong

Format: Musical
Genre: Musical
Date: October 3 2017
Location: Liverpool Empire Theatre

There are two things that you think of when you hear Any Dream Will Do. The first is Jason Donovan, whose has had an eccentric career in multiple forms of entertainment but is still remembered by most for this one song. The second is Joseph & The Amazing Technicolor Dreamcoat, the stage show from which this timeless tune originated.

And it's this show, with the shortened title of Joseph, which flies into Liverpool Empire with a bang, delivering some great music, fantastic scenery and eye-catching costumes which are guaranteed to leave a lasting impression. It's a show which will capture the imagination of those who have never seen it before, but one which will also provide plenty of entertainment for the generation who have seen Jason Donovan, Philip Schofield and others play the title role.

Here, the main character is played by Joe McElderry of X-Factor fame (it's handy that Joe is playing Joseph, isn't it?), and he does a good job in not only singing (which of course is McElderry's strong point), but also in demonstrating his acting talents and range of facial expressions to ensure that the spotlight would always be on him whenever necessary. With the plot revolving around him, of course, it's only natural that our eyes remained locked on Joseph throughout.

As for the story: based on the biblical tale of Joseph from the Book Of Genesis, the show charts the story of Joseph, whose brothers grow jealous of his coat, which boasts the colours of the rainbow and many more. Multiple attempts to get rid of him eventually result in him being sold off as a slave in Egypt to the millionaire Potiphar (Henry Metcalfe). He is later imprisoned, making his plight worse, but a discovery of his talents for translating the most bizarre of dreams and helping them to come true results in his salvation. Over time, Joseph builds prestige and manages to become a hero rather than a pariah, but his own dream is to return home and to regain his magical coat.

The story is told entirely through song; the moments when the music drops and we only hear the characters speaking rather than singing are extremely limited. So it's a credit to the performers, and to the script, that at no point does the show become boring or repetitive. This is helped by Trina Hill, a narrator of sorts whose own stunning vocal talents combined with the amount of hard work she has to put into her performance (she is involved in almost every scene) make her arguably the star of the show. It's a strong cast, though, and the Joseph choir from Performers Theatre School, who are present throughout the show and contribute to the bigger musical numbers, add a nice touch and a more positive feeling to the plot, even during scenes where Joseph is mentally and physically put at risk.

The show flies by, partly due to the fact that its duration only slightly surpasses two hours. As noted earlier, the settings are absolutely spectacular, and I don't want to provide spoilers here; I will just say that you will be wowed by the backdrops, for which great effort has clearly been invested. (That being said, there are in-jokes, such as the Eiffel Tower being represented by a quick fade onto a white backdrop on the main screen.) Some parts were a little confusing (mixing Elvis Presley with the Book Of Genesis seemed pretty strange), but I had never seen the show, and for the vast majority in attendance who had, this was all part of the unique, dynamic, memorable and professional experience that Joseph delivers. With fabulous vocals, spirited performances, cool dancing and an audience which would sing along and become part of the show when required, all mixed with an uplifting climax, Joseph delivered in almost every area possible.

Overall, then, the current version of Joseph is a faithful, captivating and highly entertaining retelling of a familiar tale, and one that the whole family will enjoy, especially those who have seen the show before and who want to take it all in again.

Overall Rating: 8.5/10 - Excellent

Theatre Review: Dirty Dancing

Image Source: ATG

Written By: Alison Jones

Format: Musical
Genre: Romantic Drama
Date: September 18 2017
Location: Liverpool Empire Theatre

On a rather windy, rainy autumnal night at Liverpool Empire, we were transported to an American 60’s summer at Kellerman’s resort in the mountains (which vaguely reminded me of days spent at Pontin’s Middleton Towers holiday camp in Morecambe and their photocopied entertainment schedules).

The latest musical stage version of the 1987 film Dirty Dancing follows the original dialogue without any variance, albeit at a rather rushed pace, particularly in the first half. Katie Eccles, who plays Frances Houseman (‘Baby’), is very believable and reminds us of those idealistic times and carefree summers.

Lewis Griffiths, who plays dance instructor Johnny Castle, struts onto the stage. Tight black vest and high waist trousers, comb to hand which made the predominantly female audience give a little sigh, most likely in memory of the late Patrick Swayze. Lewis does a great job of bringing the character Johnny to life.

The cast have boundless energy, and the dancing is absolutely brilliant and definitely dirty at times! Special mention goes to Carlie Milner, who plays Penny and managed to merge the strength of a diva dancer with the vulnerability of the character’s storyline.

The familiar songs from the Dirty Dancing soundtrack are all there. The only omission for me was Johnny singing She’s Like The Wind, though the song features as an instrumental. There are some great vocal performances, particularly from Sophia Mackay (Elizabeth), Michael Kent (Billy Kostecki) and Greg Fossard (Neil Kellerman). The live Kellerman’s band did a great job, and the saxophone playing by Thomas Sutcliffe was outstanding.

I didn’t feel there was a huge amount of chemistry between Johnny and Baby, but the audience appreciated every move, recognising and singing along to the soundtrack, and rising to their feet in the second half to cheer on Baby being led from the corner for (I’ve Had) The Time Of My Life, and a lift that Kevin and Karen Clinton would be proud of (Strictly reference!).

Love conquers the social divide, and on an evening of big knickers, sensible bras and a flash of Johnny’s behind, the audience left the theatre full of smiles and summer memories.

Overall Rating: 8/10 - Very Good

Theatre Review: Cilla

Image Source: ATG

Written By: Mark Armstrong

Format: Musical
Genre: Comedy Drama
Date: September 8 2017
Location: Liverpool Empire Theatre

This self-explanatory stage show based on the life and times of Cilla Black was already being discussed prior to her tragic death in 2015. Of course, this only made the project more personal, more emotional and more meaningful for her family, friends and fans. Combined with her fame and a career spanning several decades and multiple fields, all of this made Cilla one of the most anticipated shows to hit the Liverpool Empire in quite some time.

I was a little concerned prior to attending, simply because I wasn't sure how a show solely focusing on the musical chapters of Cilla's life could fill such a long running time (over three hours) whilst entertaining the audience in the process. Though Cilla had a fair few hits in her day, her back catalogue isn't quite recognisable or extensive enough to base an entire show's soundtrack around. Fortunately, the story focuses on her friendship with The Beatles and the 1960s music scene to enough of an extent that there are plenty of non-Cilla songs to fill in gaps between pivotal scenes and get the audience dancing and singing along aside from the main story, which is a massive help and a neat way to maintain audience interest as Cilla's story is told.

Because Cilla's story is definitely an interesting one. The first half builds up to Cilla (initially Cilla White before adopting the stage name Cilla Black, and played by Kara Lily Hayworth) truly making it via her first #1 Anyone Who Had A Heart (the show opens by acknowledging this milestone and going back in time until that moment is reached), from her initial excitement and nervousness about singing in public at The Cavern to her catching the eye of Bobby (Carl Au) and, later, Brian Epstein (Andrew Lancel). Although Bobby is linked with Cilla's career throughout, it is the connection with Epstein that really allowed Cilla's star to rise. This is despite some obstacles along the way, partly created by her overprotective yet well-intentioned and likeable parents Big Cilla and John, played by Pauline Fleming and Paul Broughton. The banter between her mother and father is typical of Scouse families then and now, which helps the one-liners to resonate with the Liverpool crowd.

The story takes on a more serious tone in the second half due to some personal tragedies, health complications and relationship breakdowns, along with the ever-growing realisation that Cilla's success dwindles as fast as it rose to prominence, thus having an impact upon other characters unbeknownst to her (who, by this point, had developed something of an ego). That being said, music is still the central thread around which the show is based, and several songs are performed in line with the plot developments, or as a way of seguing into certain scenes (such as California Dreaming by Mamas & Papas, which opens The Ed Sullivan Show episode where Cilla is introduced to American audiences).

The music is outstanding. Not only is the soundtrack a perfect reflection of the era aside from Cilla's biggest hits, but the performances are as good as you will get. Though The Beatles only make occasional appearances, the four lads chosen to play Lennon and co (Joshua Gannon, Michael Hawkins, Alex Harford and Bill Caple) are brilliant, and if a full Beatles biopic is ever produced for the Empire, this quartet would be absolutely perfect for the job. Andrew Lancel is very believable as Brian Epstein, and does an excellent job of bringing his character to life; words cannot describe the significance of his impact upon the careers of Cilla, The Beatles and Gerry & The Pacemakers.

I was going to say that Kara Lily Hayworth steals the show as Cilla; her acting seemed a little forced at first, but she grew into the role as the show developed, making her portrayal of Cilla more authentic as we entered the second half, and her singing is of the highest standard possible. She passes the all-important test of making you believe, if you close your eyes, that it really is Cilla on stage. However, I thought that Carl Au was outstanding as Bobby; starting off as a jack-the-lad of sorts, he becomes more mature as he demonstrates his true values and his underrated intelligence, and later some real emotion and genuine feelings on Cilla and family life. It's almost as much about Bobby as it is about Cilla, so it's a very good thing that Carl Au pulls off his role so well. Not forgetting Pauline Fleming and Paul Broughton as Cilla's parents, who don't appear often, but who bring a certain charm to their scenes, making their lines a highlight of the show.

I loved the settings; it was very easy to differentiate between scenes, with the backgrounds proving to be very effective. From the local, simplified home environment on Scotty Road to the bright lights of The Ed Sullivan Show to the upper-class, high-pressure surroundings of a recording studio, every scene feels unique. So, the back-drops do a fantastic job of bringing scenes to life, making certain moments seem more real. And although I mentioned earlier that this show runs pretty long (north of three hours from start to finish), I felt that the time flew by for the most part, although the large number of musical scenes not involving Cilla had a big impact on this.

On the downside, there were a few production glitches, with one piece of audio being played too early at one point, and at times, it was hard to hear the performers when they were singing. These didn't happen very often, and I'm sure that such errors will not be a factor as the show's run progresses, but they were noticeable nonetheless. I also felt that the ending was a little abrupt from a story-telling standpoint, and depending on what you're expecting from this retelling of Cilla's history, you may feel a little short-changed that some aspects of her career are not touched upon. But there is far more to like than to dislike about Cilla, no question.

In conclusion, Cilla is a great tribute to the memory of the long-time singer and entertainer. Cilla fans dating back to her 1960s glory days will truly love this.

Overall Rating: 9/10 - Outstanding

Cilla

Image Source: ATG

Written By: Scott Gunnion

Format: Musical
Genre: Comedy Drama
Date: September 8 2017
Location: Liverpool Empire Theatre

Cilla Black was a real feisty character. Of that, there is no doubt. So I expected nothing less than a grand spectacle from a production depicting her life.

So, please, I urge thee: moderate your expectations before you set sail. For, whilst not quite dismal, Cilla is far from a thriller.

The production is admittedly based on the ITV series of the same name and there was no pretence otherwise. But I was left with the impression that this was a production that had been thrown together without much consideration for how it could illuminate or even elevate an already well-known tale. As unambitious as it was unexceptional.

It was never going to shock, but it could have (had it chosen to) enlightened Cilla's story just that little bit more. This was a production without a voice of its own. A lazy rehash of something already sold to us before.

There was scope for some original musical numbers to pad out the drama and atone for the deficiencies of Cilla's limited back catalogue. Yet, instead, it played it safe with forgettable musical numbers that were nostalgic throwbacks to the sixties. If you love the sixties, then this is a winner, otherwise you're bound to be left with an aching appetite unsatisfied. But the audience clearly loved what was on offer: no doubt Cilla fans and sixties enthusiasts.

But this was a production that didn't know whether it wanted to be a play or a musical. As a drama, it was mediocre; pleasant but conventional. As a musical, it was pitiful and unoriginal, a victim of its inherent lack of aspiration.

I expected a thick and frothing glowing ode to a local legend, but to its credit, the play shies away from making a martyr of the late Cilla.

Kara Lily Hayworth was lovable enough in the lead. And, credit where credit is due, her vocals far eclipsed those of Cilla. The challenge for her was probably not to eclipse Cilla too much. I sensed she had to tone it down, aiming to impress whilst simultaneously aiming to underwhelm out of courtesy for the subject.

From a musical perspective, there was a thin back catalogue of Cilla numbers to choose from. This was an especially glaring obstacle to the show being a success. In fact, the production ends with a random mish-mash musical number of 60s staples that had no relation to the plot or anything that had come before it. It was all a bit random, and exceptionally lazy. A lacklustre gesture to the sixties superfans padding out the audience.

The real story was one of poor Bobby's dogged pursuit and his initially unrequited love; that's what hinged the production together. Bobby was the real heart of Cilla, the hero the audience was routing for. And whilst he eventually gets his girl, Cilla's reciprocation was never really touched upon. One minute it was a no, the next it was a yes. We didn't really get to see their love blossom on stage, a failing on the part of the writer and director.

What we end up with is limp and lightweight interpretation of the Cilla tale. If you are a sixties superfan, you'll think it's great. But nostalgia can be toxic, as I always say. This is a play that relies heavily on nostalgia to make its audience stay the course. Satisfactory, but only just. And Cilla the feisty red-head made into a plain Jane by a pedestrian production.

Overall Rating: 5/10 - Average

Theatre Review: Dreamboats and Petticoats

Image Source: British Theatre

Written By: Mark Armstrong

Format: Musical
Genre: Romantic Comedy
Date: July 31 2017
Location: Liverpool Empire Theatre

The summer is well and truly upon us, and for the older generation, there will be plenty of memories flooding back from summers gone by, whether it be having fun at the seaside, outings with friends, first loves or even the unforgettable music of the time.

Dreamboats and Petticoats provides all of these and more through a fun, nostalgic musical which has several familiar story arcs, along with a plethora of classic songs from the swinging 60s. For those who can remember the heydays of such acts as Cliff Richard and The Shadows, the music alone makes this a worthwhile show to see, but the production as a whole makes this one of the more enjoyable shows around.

Dreamboats and Petticoats is largely focused on Bobby (Alistair Higgins), whose desire to become a singer/songwriter is second only to his fantasies about love. The girl who he fancies is Sue (Laura Darton), but her reputation is not the greatest; however, she is a real looker, so she receives male attention from almost every guy she encounters. Ironically, the one man whose affections for her appear to be nonexistent, and who Sue really wants to be with, is Norman (Alastair Hill), who believes that his advanced age and suave charisma, mixed with musical talent and sex appeal, essentially makes him the most irresistible guy in town. Certainly, his outspoken nature makes an impression on Bobby's friends, who start utilising his musical skills for an upcoming song-writing contest as opposed to those of the more distracted yet undeniably clever and talented Bobby.

Lost in all of this is the case of Laura (Elizabeth Carter). Laura is the younger sister of Ray (David Luke), who just happens to be Bobby's best friend. Unbeknownst to Bobby, Laura (who is soon to turn 16) really likes him and wants to be with him; however, whilst Bobby acknowledges their friendship via their agreement to write a song together for the upcoming show, his eyes are really fixated on Sue. At various points, he seems to get his wish, only for Norman to intervene first time around and for his own flaws to be problematic second time. While all this is happening, Laura is desperately trying to impress Bobby whilst also feeling angry and jealous at his attempts to woo Sue. Eventually, the various plot strands come together around the time of Laura's 16th birthday party, and just in time for the big song-writing contest. There are other characters who pop up at various points, some having more of an impact on the story than others.

The tone is definitely romantic comedy, and whilst there are a fair few double entendres, there is nothing in the way of offensive material (though some references and gestures may cause the children in attendance to ask some awkward questions when they get home). The humour is mostly family-friendly, and the show as a whole feels akin to the likes of Cliff Richard's Summer Holiday movie from back in the day. There aren't too many proper laugh-out-loud moments, but there are plenty of amusing scenes, and the acting is believable enough that you rally behind Bobby and Laura through their different yet intertwining journeys.

Oh, and then there's the music. This is the real draw for Dreamboats and Petticoats, and if you're a fan of the classic sixties hits, then you'll love the soundtrack for this production. Just some of the hits covered include Let's Dance, The Wanderer, Shakin' All Over, Bobby's Girl (the character names were picked very carefully for this production), Runaround Sue (ditto), Runaway, Great Pretender, Teenager In Love, Da Do Run Run, Let's Twist Again, Happy Birthday Sweet 16 and loads more including, of course, the song written specifically for this show, Dreamboats and Petticoats.

There are many songs, so there are few scenes with no musical interludes. Being that they are sixties hits, the songs are mostly 2-3 minutes long, so if you don't enjoy one song, another will come along shortly. They are mostly performed excellently, and whilst it's hard to pick out standout songs, I can note that Elizabeth Carter, who plays Laura, is an outstanding singer, and her vocal skills, acting talents and knack of timing for comic effect are the highlight of the show from a performance standpoint. That being said, the performances are strong across the board, especially when it comes to the singing, though a few characters occasionally struggled to hit the high notes.

Elsewhere, the settings were kept simple but are effectively represented by props such as old-school LED lighting at the likes of Southend Carnival, and the bumper cars/dodgems used by a few characters which roam around stage during such scenes. The only real downside, but it's a minor one, is that the storylines are a bit predictable, so you have a good idea of how the show will end long before its climax. From a personal standpoint, I found it particularly frustrating that a number of attendees were desperate to become part of the show, whether that be by cat-calling or by unsuccessfully trying to lead others into a clapping rhythm during the very early stages of the show. But those couldn't spoil a very enjoyable show and an entertaining evening at the Empire.

Summing this show up, Dreamboats and Petticoats is a feel-good trip down memory lane with some humorous moments, an easy-to-follow story and some great songs, with several strong performances ensuring that this is a fine option for those looking for a summer show to indulge in.

Overall Rating: 8/10 - Very Good

Theatre Review: The Curious Incident Of The Dog In The Night-Time

Image Source: ATG

Written By: Mark Armstrong

Format: Play
Genre: Drama
Date: July 25 2017
Location: Liverpool Empire Theatre

I had heard about The Curious Incident Of The Dog In The Night-Time and I had seen the billboard advertisements, but I didn't really know anything about it. Having seen it for the first time at the Liverpool Empire, I would now find it hard to forget anything about the show, which is a very, very good thing.

The show begins with Christopher Boone (Scott Reid), a 15-year-old boy, discovers a dead dog which belonged to Mrs Shears. The dog has a pitchfork through it, and Mrs Shears (Eliza Collins) immediately blames Christopher. A policeman tries to intervene only to arrest Christopher for striking him, and Christopher's father Ed (David Michaels) has to bring him home from the police station. Despite his father telling him otherwise, Christopher decides to investigate the death of Mrs Shears' dog Wellington, quizzing neighbours and other local residents. Around this time, Ed informs Christopher that his mother Judy (Emma Beattie) has died in hospital after suffering a heart attack.

This is important for obvious reasons, but also because, while Christopher conducts his investigation (with Ed reacting angrily upon discovering this, only for Christopher to continue his detective pursuit), he meets Mrs Alexander, who reveals to him that his mother had been having an affair with Mr. Shears (Oliver Boot). This clearly led to Christopher's parents splitting, as well as a split between the Shears too. Ed is even angrier with Christopher when he realises that his son knows this information, but the biggest revelations come towards the end of the first half. Christopher discovers a plethora of letters which Judy had written to him, but to which he was never allowed access. This reveals the truth about what happened to his mother in light of the aforementioned affair, and when a heartbroken Ed has to tell his son the details, he also reveals who killed Wellington. Both convince Christopher to travel from his hometown of Swindon to see his mother in London, having completely lost faith in his father.

All of this makes for a compelling story in its own right, but there is one very important element which takes the story to another level. Though it is never explicitly stated at any point, Christopher has a condition which would be considered part of the autism spectrum (most likely Asperger's syndrome, though the writer has stated that it is up to the audience to decide what condition he has). This alters his reactions to everything, as well as everybody else's reactions to him amongst those who know him. For Christopher doesn't realise the impact that people's actions and words have at times, whilst reacting with a sense of fear and by lashing out should anyone touch him in any way. Little things matter greatly to him. He takes expressions and metaphors literally, and his desire to learn more overcomes those who tell him not to do something. Even when people tell him not to bother tracking down Wellington's killer, he has to continue his detective work because he cannot live knowing that the question remains unanswered.

It affects his motions, his facial expressions, his manner of speech, his lifestyle, his relationship with those around him; just about everything within his life. His mother and father obviously realise how he is, as do his teachers and fellow school staff. Those who don't quickly realise that he is, in the most positive sense of the word, different, and those who treat him as just another teenage boy demonstrate ignorance for not picking up on the fact that negative words or unnecessarily harsh criticisms do a much greater level of damage to Christopher than they would to anybody else. It's also worth noting how his condition makes him stronger and more inquisitive, as well as being more intelligent; he is the only student in his school who will be taking A-Levels early due to his tremendous knowledge, making him incredibly clever not only for someone in his situation, but for any boy at his age.

As a writer who would also be considered to have a condition on the autism spectrum, and as someone who encountered much of the negativity and the "what's wrong with you" attitudes shown by secondary characters here, I can not only completely relate to and sympathise with Christopher, but also have great admiration for the way in which the story (originally a novel) has been written and certainly for how it is performed and produced. Put any other character in Christopher's situation and he may become larger-than-life or even annoying. Use the character that Christopher possesses, though, and the show becomes a fascinating, emotional and almost heart-breaking spotlight on life for both the sufferer and the family when it comes to those with such conditions.

There were light-hearted moments during the show, but this is more than anything a true drama which packs one hell of a punch, and likely brought many in attendance to tears more than once. The visual cues which are never discussed (like Christopher essentially miming with his hands to his parents rather than them touching him) make an impact, but it's also worth considering the aspects of Christopher's life which are never touched upon, but which upon reflection make his situation even sadder: we're never told if Christopher has any friends, we never see him smile, we're not told how the family first noticed his condition or whether his methods of coping with life will ever change in any way for the better. And yet Christopher only sheds tears when he learns the truth about his mother; otherwise, life is completely normal to him, never realising that not everybody is like him.

There are no words to truly emphasise how incredible Scott Reid is as Christopher. He is completely convincing, truly immersing himself in the role and becoming that character on stage. It's one of the most compelling acting performances I can remember seeing, not to mention the fact that Christopher has a ton of dialogue, much of it delivered rapid-pace, further boosting his truly phenomenal portrayal of Christopher by Scott. David Michaels is also excellent as Ed, attracting both sympathy and negativity in equal measure based on the situation, but while never losing sight of the fact that this man truly loves his son, despite everything that is going on in their lives. We don't see too much of Emma Beattie as Judy, but when we do, she is also extremely convincing, coming across as someone whose strength has been weakened by the toil of family life over the years, but with her heart never losing the love she has for Christopher either. Other characters make occasional appearances, with strong performances by all when required.

A screen displaying 3D effects similar to movies like Tron is used as the setting for the entire show, with props brought on-stage to help move scenes into different locations. The visual effects used on the background screen are very simple but incredibly effective, demonstrating everything from a blackboard to a bedroom to a London underground station. The sound and lighting effects further bring us into specific environments, without the need for fancy walls and windows or any proper background set changes. There is clearly a level of humour to be found in even the most emotional of scenes, and I should mention that a passing reference to a potential post-show scene should be taken literally because, whilst not a major moment in the production, it's a fun way to end the night for those who have been paying attention.

Last night, clearly, virtually everybody did based on the standing ovation for the cast, and for Scott Reid as Christopher in particular. I hope that the rumoured movie version comes to pass, and I would like to see a television drama version of this as well, though based on the occasionally strong language and the heavy aspects of the themes discussed, I would not advise young children to see it; everybody else simply has to, though, because it's an unbelievable and moving production to say the very least.

In closing, The Curious Incident Of The Dog In The Night-Time is one of the best theatre shows I have ever seen and, whilst occasionally an uncomfortable viewing experience, I would consider it to be an essential show for theatregoers to see, especially those whose real-life situations may relate to that of Christopher and his family. It's absolutely outstanding, and a show which richly deserves the highest possible ratings awarded to it by almost everybody who has seen it.

Overall Rating: 10/10 - Perfect

Theatre Review: La Cage Aux Folles

Image Source: ATG

Written By: Scott Gunnion

Format: Musical
Genre: Comedy
Date: July 4 2017
Location: Liverpool Empire Theatre

Drag can be fabulously entertaining when done right, and not diminished by indiscriminate references and cheap innuendo. And this was a production that did drag proud. It could easily have played it for simple laughs.

As the first act unfolded, peppered as it was with one visually impressive but largely irrelevant drag routine after another, I got the feeling that this would be a play with no plot. All glitter, no substance. But I was wrong.

The play really comes into its own in the second act. The physical comedy in the scene where Georges tries to teach Albin to act masculine by walking like John Wayne (or Jeremy Clarkson) was comic gold.

Those familiar with The Birdcage won’t have felt let down.

John Partridge was excellent as Albin, in all his effeminate splendour. But there was the matter of his accent, delivering each line with this piercing Lancashire twang as though it was on loan from the Bradford and Bingley, or sponsored by Plus Net Broadband. It reminded me of when Michelle Collins made the jump from EastEnders to Coronation Street, dodgy Blackpool accent in hand (“Leanne, I’m your mam”).

As a play and as a comedy it was great, but as a musical it was desperately lacking in memorable musical numbers, putting aside “I am what I am” which is culturally recognisable in its own right. This was no Chicago. You couldn’t - and wouldn’t - go out and buy the soundtrack. You’d be better off buying Shirley Bassey’s version of “I am what I am” for 99p on iTunes.

The best bit of all was when an elderly man in the audience, complete with walking stick, attempted to storm out but could only hazard a staggard. “I’ve had enough of this”, he said. “This is too much”. I loved it. Nothing was topping that.

There were moral undertones of equality and acceptance, but they were never thrust at the audience. In fact, the sporadic groans and bursts of applause from the audience in support of obvious moral posturings were largely unsolicited. The play was unpretentious and well-delivered and, void of smut, accessible to all ages.

There was a pretentious fellow reviewer sat a few seats away, namedropping Shakespeare and boasting about writing his review. "What is he possibly going to take away form this?" I thought: “The sequins were ethically-sourced and environmentally-friendly”?

If you appreciate unpreachy comedy, dodgy accents and a bit of magic and sparkle, then this comes highly recommended. Just don’t expect a sing-song because this is no Mamma Mia.

Overall Rating: 7.5/10 - Good

Matthew Bourne's The Red Shoes

Image Source: ATG

Written By: Scott Gunnion

Format: Ballet
Genre: Drama
Date: June 27 2017
Location: Liverpool Empire Theatre

A night at the ballet. Sounds grand, doesn’t it? Opulent, even. Like a night at the opera, or a day at the races (Cheltenham, not Aintree obviously.)

If this sounds like your cup of tea or drug of choice, then prepare to be stunned and humbled in equal measure.

As healthily cynical as ever, I sat down at my seat expecting something pretentious and inaccessible.

But my reasoned apprehension melted almost instantly into smithereens.

Far from lofty and remote, it was instantly absorbing.

Though, being honest, I didn’t have a clue what was going on most of the time.

I wasn’t bored, but I was baffled. Dazzled, but baffled. Enraptured, but baffled.

It was hard not to be immensely impressed by the sheer skill and talent on display. I was almost in awe of the performers. Something about it was hypnotic.

The movements and those performing them were seamless and espoused an air of effortlessness, depending on how critical an eye is watching.

Those who opted to pay £1 for opera binoculars were missing out, for it was impossible for focus on any one point on the stage at any one time. Each performer was doing something different and unique all of the time. It is beyond doubt that the talent was of a high calibre. I wanted to fix my eyes on each and every one of them but couldn’t. What could have been messy and blundersome in the wrong shoes unfolded into what was a magnificent mesh of movement. Exceptional.

As for the Red Shoes themselves: as far as I could decipher, they were cursed, or even haunted. Though I must confess, I found it impossible to follow any coherent thread or plot based solely on my perceptions of interpretative dance, however elaborate it may have been. Perhaps that makes me uncultured or uncivilised. That might not be far from the truth.

Even if you come away from the performance with only faint praise, there is no doubt that you will step up out of your chair and give applause for the sheer intricacy and innovation of the set design which was unique from both a visual and a technical perspective.

So if you’re up for it, prepare to be impressed. You don’t even have to know what’s going on. Just sit back, sit still and watch.

Overall Rating: 6.5/10 - Okay

Wonderland

Image Source: Liverpool Echo

Written By: Mark Armstrong

Format: Comedy
Genre: Musical
Date: June 12 2017
Location: Liverpool Empire Theatre

Wonderland merges the stories of Alice In Wonderland and Alice Through The Looking Glass, as well as adding some additional elements of its own, to create a story which aims to capture the imagination of children and adults alike.

In Wonderland, Alice (Kerry Ellis) is now 40-years-old, but her 40th birthday is hardly an occasion worth celebrating, as she is fired from her job. Upset at this, and disillusioned about her (unseen) husband leaving her years before, she and her daughter Ellie (Naomi Morris) both agree that they wish they could escape the real world and change their lives completely. That's when they get a visit from the mysterious White Rabbit (Dave Willett) who manages to transport them and their friend Jack (Stephen Webb), who comes on the scene almost by accident but who soon falls in love with Alice.

Wonderland, as the name (and the original stories which inspired this show) suggests, is a wild and wacky place full of amazing scenery, bizarre characters and an experience which embraces the weird and wonderful. It isn't perfect, though, because the Mad Hatter (Michelle Pentecost) lives up to her name and is bonkers as she looks to abuse her level of power, second only to the dictatorship of the Queen Of Hearts (Wendi Peters), whose desire to chop people's heads off is second only to her love of jam tarts. Alice, Ellie and Jack quickly adore their new surroundings, but only by jumping through the Looking Glass can they truly become a part of Wonderland. This becomes a struggle for Alice, who is 50/50 about taking the leap, but even on the other side, struggles with the Mad Hatter and the Queen Of Hearts await, which puts them not only in a position where they may not be able to leave Wonderland, but whether they can survive in their new surroundings.

There are plenty of musical moments throughout the show, with more than a dozen original songs. However, it's the vocal performances rather than the songs themselves which I felt stood out. In particular, Kayi Ushe (who plays the Caterpillar) is a stunning singer, as he proves when performing Advice From A Caterpillar, and Wendi Peters reminds us about her range of skills during performances of Hail The Queen and Off With Their Heads. The likes of Kerry Ellis and Naomi Morris also perform their songs well, but it was their acting, comedic timing and ability to jump between facial expressions, moods and tones which made them perfect candidates to play Alice and Ellie respectively.

I really liked the costumes; everyone from White Rabbit to Caterpillar to the Mad Hatter looks larger than life, off-the-wall and as colourful and extravagant as you could imagine, which should keep the kids interested as the characters which they will only have previously read about leap off the pages and take control of the stage in front of them. The scenery was largely kept simple but ensured that we were truly transported into Wonderland, the best part being the super-sized Looking Glass, which even spoke (via a voiceover from John Finnemore)! Lastly, the lighting was very colourful, changing between moods and scenes, and seamlessly helping to capture the emotions of the moments on stage at specific points of the show.

In terms of downsides, I felt that the story was occasionally hard to follow; the entrance into Wonderland is obvious, but whilst longtime fans of Alice will know that it's coming, the desire to return home isn't acknowledged until very late in the show, meaning that the show sometimes feels like it has no direction during the second half. Plus, it took me a few minutes into Act II to realise that we were watching the "new" Alice via her jump into the Looking Glass (sorry for the spoiler), and Jack's involvement seemed a bit random in the early going. Although there's plenty of over-the-top characters, I'm not sure if the feelings of magic and fantasy are strong enough to capture the minds of those children who will have never seen Alice before; I think that for the kids, they would have to know the stories of Alice In Wonderland and Alice Through The Looking Glass to truly appreciate this production, rather than approaching it with no prior knowledge of Alice and her past adventures. Nevertheless, none of these have a major effect on one's enjoyment of the show.

Summing it up, then, Wonderland is a satisfying and entertaining night of family theatre with a combination of colourful characters, crazy story arcs, eye-catching costumes, stunning lighting and strong performances, all of which makes it a fine option to take the young 'uns along to this summer.

Overall Rating: 8/10 - Very Good

Theatre Interview: Wendi Peters: "Wonderland Is A Fabulous Musical"

Image Source:
What's On TV

Written By: Mark Armstrong

Provided By: Liverpool Empire Theatre

Alice In Wonderland and Alice Through The Looking Glass are two of the most popular fantasy stories for children and families as a whole. Now, Wonderland: The Musical brings both to life, along with some unique twists, ensuring an exciting night for all. To find out more, we spoke to Wendi Peters, who plays the Queen Of Hearts in the upcoming show at Liverpool Empire.

To begin with, tell us about Wonderland, and your character Queen Of Hearts.

Wonderland: The Musical is basically a mixture of Alice In Wonderland and Alice Through The Looking Glass. It's both novels combined, but then you add into it a brilliant score by a Broadway composer called Frank Wildhorn, and the whole thing becomes a fabulous musical.

I play the Queen Of Hearts, who of course is bonkers, she goes around cutting everybody's heads off and she eats a lot of jam tarts. The difference with our Wonderland show, though, is that we've gone forward a few years; Alice is nearly 40, she has a daughter, and it's the daughter who ends up going down into Wonderland first, followed by Alice. So, the show is all about both of their journeys through Wonderland, where they meet all of these characters and find themselves at the end of it.

You have appeared in a huge number of theatre shows down the years. What drew you to become a performer on stage?

When I was little, I did the usual things like going to ballet class as little girls do, and doing plays at school too, as well as going to dance festivals and going to see shows. I'm originally from Blackburn, so my mum used to take me to see a lot of the shows at the Palace in Manchester. So, seeing it all happen, I thought "I'd like to do that!"

What would you consider to be the most memorable theatre shows that you have performed in to date?

There's so many! One of my first leading roles in the early '90s was Red Riding Hood. For me, that was the break from being in the ensemble to getting a lead role. That was very memorable, and I had a wonderful time. As far as recent years: I did a play a couple of years ago at the Parks Theatre in London. It was a cast of eight, and we just got on so well as a group; we all shared one dressing room, it was a brilliant experience, and we still see each other every couple of months to catch up.

Are there any theatrical roles which you would be particularly interested in?

Musical-wise, there are two that are on my list that hopefully, fingers crossed, I might get to do in the next ten years. I'd love to play Mrs Lovett in Sweeney Todd, and I'd love to play Rose in Gypsy.

You're also famous for playing Cilla Battersby-Brown in Coronation Street. What were some of your favourite scenes from your time on the soap, and could you see yourself returning to the show one day?

Erm, who knows about the returning. I went back a couple of years ago just for a few weeks, to help out with Jenny McAlpine leaving. I don't know about returning again; I'm really happy doing everything that I'm doing now, but never say never. Someday if they come up with a really good storyline that they want me to be a part of, I'd be happy to go back.

As for memorable moments: people always say to me about the dog jumping in the bath and us going through the ceiling, which was fun. But I liked it when Cilla was a bit more serious and really evil. Those were the scenes that I always got the most out of.

You've appeared on other television shows, such as Celebrity Masterchef in 2009. How did you find that experience?

It was one of my favourites. One of my favourite things that I've done, and also one of the hardest things that I've done, because it was six weeks of just thinking about food, getting recipes together, practicing and filming. But it was a great experience, and I learned so much.

Would you be interested in participating in other television shows in the future?

My rule for reality shows is that I have to be learning something. I did The Sewing Bee, I did Masterchef; it's that learning skill for me. If there's something that I really want to learn and I can get that opportunity, I do it. I'm not one of those who's happy to be just sitting around and chatting in realities!

Finally, what should the Liverpool audience expect from Wonderland?

They can expect a fabulous evening of fun. It looks spectacular as the lighting is amazing, the songs are phenomenal, and they are for all of the family, from seven-year-olds through to grandparents. It's a real mixture of rock and pop through musical theatre, and there's a bit of classical too. There's something in it for everybody.

Wonderland will play the Liverpool Empire from Monday June 12 to Saturday June 17. To book your tickets, click here.

Theatre Review: The Wedding Singer

Image Source: BritishTheatre.com

Written By: Mark Armstrong

Format: Musical
Genre: Romantic Comedy
Date: May 31 2017
Location: Liverpool Empire Theatre

Based on the 1998 movie, The Wedding Singer is based around Robbie Hart (Jon Robyns), a wedding singer by trade whose own wedding is fast approaching, where he will marry longtime sweetheart Linda (Tara Verloop). However, Linda does not show on the day, leaving a note which does little to make Robbie feel better. His situation is compounded by the engagement between Julia Sullivan (Cassie Compton) and New York hotshot Glen Gulia (Ray Quinn); Julia works as a waitress and is a close friend of Robbie, so much so that Robbie had agreed to sing at her wedding should she and Glen ever tie the knot, but prior to Robbie having his own heart broken.

Therefore, it takes some time and much persuasion from Julia for Robbie to honour his commitment. In the meantime, Robbie assists Julie with wedding preparations, but after some gentle prompting by Julia's friend Holly (Stephanie Clift) to "practice a church kiss", Robbie and Julia lock lips, and it quickly becomes clear that the two have developed feelings for each other. This slowly evolves amidst Robbie learning more about Glenn's lifestyle, which included regularly cheating on his bride-to-be.

In the meantime, Robbie's music career (in a band alongside Sammy, played by Ashley Emerson, and George, played by Samuel Holmes) stumbles as it is clear that his feelings towards Julia, and his romantic feelings having been severely dented by Linda no-showing their wedding. It all comes down to a situation whereby Julia and Glenn jet off to Las Vegas to wed, and only Robbie can potentially put a stop to proceedings and express his true love for Julia, who by this point had communicated HER romantic feelings towards Robbie through Holly.

Obviously, the musical follows the story of the movie for the most part (there are certain changes within the storyline and, of course, with the inclusion of additional songs, but the general plot remains the same). Therefore, anyone who has seen the 1998 film will know what to expect, but even those who don't should have a good time. There are quite a few comical scenes and lines, and the story is easy to follow. The emphasis is purely on humour, even during the more serious or emotional scenes, so it's a light-hearted tale from start to finish.

In particular, Jon Robyns is believable, entertaining and sympathetic as Robbie Hart, and although his career prospects as a wedding singer are never likely to make a massive impact, the audience is always hoping for him to achieve his dreams on a romantic level, especially after being ditched at the altar. Cassie Compton also puts in an excellent performance as the likeable Julia Sullivan, both from an acting and a singing perspective; Jon and Cassie steal the show in a pretty star-studded cast, which includes Ruth Madoc as Rosie and the aforementioned Ray Quinn.

The settings are very good, as are the use of additional props where appropriate, and the lighting is very cleverly used, especially during one scene where the lighting conveys Julia and Glenn's plane taking off to Vegas. On the negative side, the running time of the first half was a little long, coming in at close to 90 minutes, and I expected to see a little more of Ray and Ruth. There was also heavier sexual content than I expected, given that the movie made only occasional risqué references, and the (largely older) audience seemed a little uncomfortable during one particular scene towards the end. But there's a lot more to like than to dislike, and there's quite a few surprises too, such as some amusing celebrity impersonators towards the end.

Summing this show up, then, The Wedding Singer is a lot of fun with a fair number of memorable moments, and a faithful recreation to any fans of the original movie.

Overall Rating: 8/10 - Very Good