Theatre Review: The Band, Empire Theatre, Liverpool

Image Source: ATG

Written By: Mark Armstrong

Format: Musical
Genre: Comedy Drama
Date: January 23 2018
Location: Empire Theatre, Liverpool

Judging by the promotion and the marketing, The Band is a show all about a certain band which originally formed in Manchester. When you actually see the show and understand the story, though, it is not necessarily about that group of five at all (nor is The Band about a former faction in TNA Wrestling; bonus points if you get that reference), but rather a different group of five; a group of five friends, whose lives are intertwined due to the impact of their childhood heroes.

Indeed, we begin in 1992, where five teenage schoolgirls, who fantasise about The Band every day (and they are always referred to as the lads or The Band as opposed to the group's official title), are super-excited when one of them (Debbie, played by Rachelle Diedericks) wins tickets to see them live in concert. Of course, all of the friends go along, and they love the show. An attempt to try and meet the boys afterwards is futile, though, but at least they share a bonding experience before heading home in separate directions.

But then tragedy strikes: though we aren't shown or necessarily told the details, we learn that an accident led to Debbie suddenly and shockingly passing away that night. A falling out at her funeral between her other friends (Rachel, played by Faye Christall; Heather, played by Katy Clayton; Claire, played by Sarah Kate Howarth; and Zoe, played by Lauren Jacobs) sees the girls drift apart, seemingly for life.

Cut to 2017, where Rachel, now grown up (obviously) and played from this point on by Rachel Lumberg, happens to win a radio competition to see the reformed Band in Prague. Her partner Jeff (Martin Miller) assumes this will be a trip for the couple to share with some friends from work, and he even dismisses the idea of seeing the show altogether. But Rachel sees this as an opportunity to reform a band of her own, and she gets in touch with Heather (now Emily Joyce), Claire (now Alison Fitzjohn) and Zoe (now Jayne McKenna) about meeting up and sharing another experience linked to their former idols.

That they do, and when they meet up at Manchester Airport, they quickly realise that their lives have gone in totally different directions, in some cases the polar opposite of what the girls had predicted all those years ago. But the bond between each other remains as strong as ever, and their love for the boys (well, the men by this point) is as strong as could be. But even their trip to Prague is not without its problems, and ultimately it becomes an issue as to whether or not they will even get to the show. More importantly, though, it becomes clear that they are searching for something else; something linked back to that fateful night in 1992.

The story is fairly easy to follow, and all of the hits that you would expect are covered, from I Want You Back to Let It Shine to Never Forget. Indeed, from the standpoint of delivering a great soundtrack, The Band delivers as good a set as any theatre show will. The singing performances are good overall (the acting will leave a stronger impression, though, especially in the closing scenes), and the crowd were singing along, dancing and swaying to every hit. The boys themselves (played by AJ Bentley, Nick Carsberg, Curtis T Johns, Yazdan Qafouri and Sario Solomon) do a worthy job of bringing the memories of the original group to life (their reward for triumphing in the BBC show Let It Shine).

The biggest positive I took away from the show concerned the props and the settings. We're effectively taken into every environment possible, from Rachel's bedroom adorned with posters of the boys, to Manchester Airport (which featured a huge aeroplane backdrop) to a fountain statue from Prague city centre actually consisting of the boys themselves! The backing music is also very good, and the story itself is easy to follow. Indeed, if you are a female who grew up listening to the original band in the 1990s, and were delighted to see them reform just over a decade ago, then you'll get a massive kick out of this show; it's as relatable as any show could possibly be.

I must mention that this show is clearly aimed at a specific sector of the theatre audience, so much so that those who do not fit into that demographic may find issues with aspects of the show. One can easily sit back and simply enjoy the excellent range of number-one hits if all else fails, but just be mindful of the fact that you may occasionally be looking around and thinking "What's the big deal?" in regards to a plot development, or wondering "Was it really that funny?" in regards to a joke. I also wasn't sure why the show was named The Band since the true story is about the friendship of the girls, as opposed to the boys themselves. And for a production that welcomes a younger crowd, there are a few risqué one-liners and dodgy references which may lead to some awkward questions after the show for the parents in attendance.

Nevertheless, there was still a lot to like about The Band, and it measures up as a faithful and relatable story for a generation of music fans. Just keep in mind that the rating below is a balance between the sector of the audience who will absolutely love this show and will want to see it again and again, and those who may not feel the same way. If you're a part of the target demographic, though, then The Band is perfect.

Overall Rating: 7.5/10 - Good

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

Pantomime Review: Aladdin, Echo Arena Auditorium, Liverpool

Image Source:
Echo Arena Auditorium

Written By: Mark Armstrong

Format: Pantomime
Genre: Comedy
Date: December 16 2017
Location: Echo Arena Auditorium, Liverpool

We're just days away from Christmas now, which means that the panto season is well and truly in full swing now. The latest venue to launch its festive show is Echo Arena Auditorium, with their offering of the timeless tale known as Aladdin. ("Oh, no they're not!" "Oh, yes they are!")

The story of Aladdin is fairly easy to follow for kids and adults alike: Aladdin (played by Michael Auger, star of Collabro from Britain's Got Talent) and his daft family (his brother Wishy Washy, played by Mark Jones, and his mother Widow Twankey, played by Ruby Murry) are in Peking, where he encounters Princess Jasmine (the debuting Jessica Johann), much to the chagrin of her father who wants her to avoid falling in love with someone who lacks great wealth.

However, there is a chance for Aladdin to see his fortunes quite literally change overnight in the form of a magic lamp. There's a challenge, though: the evil Abanazar (Dean Sullivan) has travelled to Peking (not Cyprus) with his sidekick Slave Of The Ring (Leanne Campbell) to locate the lamp, and he is willing to use Aladdin as a pawn in his dastardly plan. Ultimately, Aladdin finds himself in jeopardy, and so it is down to the power of magic for him to not only escape these troubles, but to also make his financial and romantic dreams come to fruition.

Ruby Murry stole the show as the hilarious Widow Twankey with some cracking and occasionally off-colour jokes, along with a number of extravagant outfits (the best being an oversized Asda carrier bag, with dozens of additional regular Asda carrier bags forming a wig, and a huge tea table set-up dress) and a spectacular vocal rendition of Nessun Dorma. Speaking of singing, Jessica Johann demonstrated some great singing talents in her pantomime debut, and chances are that we'll be seeing a lot more of Jessica in the future based on her performance here.

Elsewhere, the special effects (which included a magic carpet for Aladdin) were very good, if at times a little overbearing when it came to the dry ice that covered the first few rows on more than one occasion. There was a lot of attention to detail with the backgrounds and the lighting, and the young dancers were clearly well-trained, with a couple of them delivering some priceless expressions during the extended dance routines. It took a little bit of time for the audience to warm to Wishy Washy but it eventually did happen, which led to some humorous moments of interaction. It was also Wishy Washy who controlled the scene towards the end where several children came on stage to sing Kung Fu Fighting (which had been sung by the main characters during the show), with one in particular (Oliver) having the crowd in stitches after giving some incredibly frank opinions about dating, specifically girls.

On the downside, the show was a slow starter, with many of the funnier moments coming in the second half. The acting felt a bit forced on occasion, and though some of the jabs at local areas were generally funny, a couple seemed unnecessary under the circumstances. Also, while I liked the way that the Genie was brought into the show, the dialogue was a bit weird, so the kids would have been baffled by what the Genie (voiced by Pete Price) was talking about. Still, there was a lot to like about this production, including some excellent musicians who played a vital yet understated role in moving the show along just in front of the stage, and the costumes as a whole were exceptional for every character, not just Widow Twankey.

To sum it up, Aladdin isn't necessarily the most Christmassy panto that you will see over the next few weeks, but it is a lot of fun, and it's a show that I'd definitely suggest that you bring the young 'uns to see.

Overall Rating: 8/10 - Very Good

Pantomime Review: Peter Pan, Epstein Theatre, Liverpool

Image Source: Epstein Theatre

Written By: Mark Armstrong

Format: Pantomime
Genre: Comedy
Date: December 11 2017
Location: Epstein Theatre, Liverpool

The Epstein panto is as much an annual Christmas tradition as mince pies, work parties and the visit of the Coca-Cola truck which the usual doom-and-gloomers have been inexplicably trying to block. The formula is slightly switched up this year in a few ways, which combined with the usual big laughs and occasionally mature levels of humour (which the younger kids thankfully don't cotton onto), ensures that Peter Pan is another great festive offering.

Yes, Peter Pan; not traditionally a story which is brought to life in pantomime form, but one which perfectly adapts to the setting when performed by this experienced and talented crew. Here, Lewis Pryor takes up the title role, and quickly catches the eye of Wendy (Joanne Harper) as they travel to Neverland with a little help from Tinkerbell (Claire Simmo).

However, there are dangers ahead, not least Captain Hook (Dane Bowers), who wants to have Peter Pan killed for his own personal rewards, and is willing to go to another level (sorry) to do it. He has assistance from the daft Smee (Chris Barton) and the even dafter Dame Betty (Michael Chapman), but resistance from Tiger Lily (Georgia Austin) and the magic of Neverland ensures that the battle goes down to the wire, with Peter Pan not only needing to survive the dastardly Hook, but also slowly becoming attracted to Wendy. Will there be true love, and will Hook's evil plot be taken down?

Everyone performs to a high standard, as is the norm for the Epstein pantos. Several children were drafted into the cast as The Lost Children, and several kids had some hilarious lines, with one or two having that talent of making people laugh through simple facial expressions and mannerisms. As is often the case, there were plenty of jokes about local people and situations (the idea of a "drawn-out and depressing" situation for Peter Pan was initially assumed by Smee to be describing an Everton game), and the settings were very well-crafted in an attempt to create the most authentic Neverland backdrops possible. Top it off with some cool visual effects (such as characters flying and pyrotechnics), plenty of dance routines (though some of the dancers appeared to wish that they were somewhere else), colourful costumes, and some clever in-jokes (at one point there appeared to be production issues, only for it to be the set-up for one of the show's funnier planned scenes), and you have a really enjoyable panto experience for all the family.

Not for the first time, though, it's Michael Chapman as Dame Betty who steals the show with loads of great one-liners. The tone was set very early on with some near-the-knuckle jokes relating to certain well-known faces on television, and they continued throughout the show. At times, "risqué" would have been a generous way to describe such lines as her true name being "Betty Swallocks" and her somewhat intimate suggestion for Hook to pop around her house. Many of the attendees were in uproar laughing at Betty's remarks, and there's no doubt that her character is the one that people will most remember when seeing the show. The audience themselves contributed at times (one youngster hilariously shouted "Lewis!" to Peter Pan when he was in danger), though some attendees unfortunately tried to take over the entire show at one point, which is never a good thing. Otherwise, though, this was a lot of fun.

I would heartily recommend that you bring the family along to see Peter Pan at the Epstein over Christmas. You'll have a great time, and everyone will be feeling truly Christmassy when all is said and done. Just be prepared for some potentially awkward questions from the little 'uns afterwards!

Overall Rating: 9/10 - Outstanding

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

Pantomime Review: Beauty & The Beast, The Black-E, Liverpool

Image Source: Made Up

Written By: Mark Armstrong

Format: Pantomime
Genre: Comedy
Date: December 7 2017
Location: The Black-E, Liverpool

A modern, localised and charming retelling of the classic story Beauty & The Beast is currently being performed at the Black-E in Liverpool. Produced by Siobhan Noble and James Lacey, it brings the true spirit of Christmas along with some funky dance moves, some humorous situations and plenty of outrageous moments and one-liners to deliver a fantastic pantomime experience.

This version of Beauty & The Beast tells the story of Belle Vale (Tori Hargreaves), and her father Egbert (Alan Stocks) attempting to benefit from his next major invention, "Top Trumps" whoopie cushions. He also wants to find a rose for Belle, in the face of insults and adversity from her two sisters Toxteth (Maia Johnson) and Croxteth (Billiejo Fairclough). In the meantime, however, a spell by Fairy Rose Lane (Helen Carter) goes disastrously wrong, causing The Prince (Nick Langmead) to transform into a horrid Beast, who rules the kingdom with an iron fist and has his minions, particularly Dame Dolly (Jamie Greer) and Basic Bertie (Adam McCoy), perform his every wish.

Consequently, conflict is created when Egbert gets lost in the woods and finds himself trapped in the Beast's lair. Fairy Rose tries to help but to no avail, partly because of a huge rose hanging in the forest, whereby every petal lost is one step closer to near-apocalypse for the village (it also leads to Dolly and Bertie's costumes changing regularly, from a Coke machine to a superlambanana to a giant cake). Belle learns of her father's plight and rushes to help, only to attract the wrath of the Beast. Over time, however, a romance develops, unbeknownst to the villagers who believe they are helping by trying to free Belle and kill the Beast. They are led by Garston (Ciaran Kellgren), a self-proclaimed and delusional ladies' man who believes that Belle is madly in love with her, and influenced by his similarly-stupid friends Norris (Brandon Incles) and Zak (Kai Grosscurth).

The show is a little long, coming close to 2 ½ hours, and it takes a bit of time to find its groove, but it's more than made up by the general enthusiasm of the cast and the increasingly-humorous situations which come up. The use of local areas as character names is clever, particularly Belle Vale for the Princess and Norris for a character who more often than not dons green attire. Dame Dolly and Basic Bertie deliver plenty of laughs during their interplay, occasionally of the risqué variety, and it's also funny to see Garston try and convince himself that he's the fittest lad around when no lady around seems truly interested in him.

The Black-E setting was also interesting, as it meant that the cast were performing to all four sides as opposed to one. This meant that there was no true backdrop for the location, but the use of such props as the hanging rose and dinner tables, along with the physical activity of the performers themselves overcame this. It also led to increased audience interaction, occasionally of the unplanned kind, as several parents and kids needed to walk by the stage when going to get refreshments or visit the restrooms, along with some kids shouting out humorous remarks during certain scenes. There was also comedy during the kids-sing-along scene towards the end, with several children delivering some of the night's funnier quips.

Elsewhere, the singing was very good, especially by Tori Hargeaves and Helen Carter, both of whom showed star potential both in their acting and their musical renditions. The use of lighting effects was clever considering the surroundings, and for the audience themselves, being so close to the performers worked well as it got everybody involved in some way, as well as ensuring that you were focusing on every area of the stage as opposed to just one central spot. The costumes were very good, if a little recycled at times, and the final scene had the audience up on their feet dancing and singing along. Minor downsides were some audio difficulties near the beginning, and other slight technical hitches with the rose petals (which Fairy Rose dealt with very well, using comedy to acknowledge the situations), along with some songs being used several times rather than having a larger range of popular numbers. However, the positives outweighed the negatives by far for this show.

There are many pantomimes set to be held across Merseyside this Christmas, but I would definitely suggest that you take the family along to attend this version of Beauty & The Beast. It's something different yet reassuringly familiar at the same time, it delivers a lot of laughs and a fair amount of unpredictability, and it allows the audience to all walk away with smiles on their faces. It's a real credit to the producers and the performers, and it earns my recommendation as a panto that people young and old will truly enjoy.

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: The Wizard Of Oz - Epstein Theatre, Liverpool

Image Source: Bill Elms

Written By: Mark Armstrong

Format: Pantomime
Genre: Comedy
Date: October 29 2017
Location: Epstein Theatre, Liverpool

The Wizard Of Oz is one of the grandest, most magical and most popular stories of all-time. The tale of Dorothy and Toto having to overcome the Wicked Witch and appease The Wizard Of Oz in order to return home from Kansas, with assistance along the way from three unusual yet trustworthy accomplices (Scarecrow, Tin-Tin & The Cowardly Lion), is one that I'm sure everybody reading this will have seen in the form of the classic 1939 movie.

A theatre version of TWOZ is currently touring the region, and it has just completed a stop-off at the Epstein Theatre in Liverpool. So, it was with anticipation and a fair bit of excitement that I headed to one of my local venues to see an all-time great story come to life in physical form.

I mentioned the basic plot of the story earlier, so it's hardly worth me reiterating; instead, I'll jump straight to the performances. Cheryl Fergison was on form as the Wicked Witch, mixing some typically evil insults with pop culture references and the occasional nod to her background as Heather Trott in EastEnders. Maddie Hope Coelho was believable as Dorothy, and her renditions (one near the beginning, one at the end) of Somewhere Over The Rainbow were stunning, drawing much applause and positive feedback from the Epstein audience.

Elsewhere, we had a talented crew on offer to play the other major roles, with David Heath in the role of Scarecrow, Phillip McGuinness as Tin-Man and Richard Hazlewood as The Cowardly Lion. Add to that a few hilarious scenes, a soundtrack which combined vintage TWOZ tracks with modern hits, and some funky dance moves - oh, and the use of a real dog as Toto - and you have a guaranteed recipe for success, right? Especially when you factor in the effective use of pre-recorded video footage to demonstrate Dorothy's journey to Oz from Kansas and vice versa, some excellent backdrops, and costumes which were as faithful to the movie as you could possibly expect.

However, I had a couple of issues with the production. For one, there were a fair few technical glitches, and some characters that weren't meant to be on the stage were visible via the side curtains on more than one occasion. I could overlook this, but not the way in which the story - which, as I mentioned earlier, virtually everybody knows - was modified for seemingly no reason. I won't provide spoilers, but The Wizard's true identity, and how this was revealed, was disappointing, and despite the video scenes showing how Dorothy returns home, we don't get the scene where she recognises the same faces that she met in Oz, one of the key elements of the film. I'll overlook the lack of a multi-coloured horse, though, since admittedly that would be extremely hard to pull off in a theatre setting.

The biggest problem, though, is that judging by the way in which the show was presented, those in charge haven't worked out whether they wanted this to be a pantomime or a play, and in the latter case, whether they wanted it to be comedic or serious. There are undoubtedly many moments of mirth, but with the exception of the Wicked Witch, there was barely any audience interaction in the first half, and some performers occasionally hammed up their roles to the point where they appeared to forget that the purpose of the show was to make people laugh, rather than actually trying to portray the characters from the famous movie. It's not to say that the show was super-serious by any means, but it was hard to determine which direction the producers were looking to take the show into. It's also no surprise that the second half was more enjoyable because there was a greater emphasis on comedy and audience interaction, which the crowd lapped up, and it resembled the panto that I and many other attendees assumed it was meant to be.

These criticisms were certainly not enough to spoil the show, though: I had a great time, and certain elements of the production were as good as you will see amongst pantomimes and children's shows. Indeed, in terms of bringing The Wizard Of Oz to life, this particular portrayal did a fine job, and the kids and adults alike will have gone away looking to rewatch the film and experience more of the magic from Oz. I just hope that the production team will make slight adjustments to the script and decide whether they want to go down the panto route or whether they want this to be more of a play with a comedic edge. If they find their niche, and adjust the script slightly from there, then this show could be elevated to can't-miss territory.

(You can read an interview I conducted with Cheryl and David about The Wizard Of Oz by clicking here.)

Overall Rating: 8/10 - Very Good

Theatre Interview: Lucy-Jo Hudson - "Snow White Is Going To Be A Lot Of Fun"

Written By: Mark Armstrong

HI-HO! Snow White & The Seven Dwarfs is coming to St. Helens Theatre Royal this Christmas, where a combination of hilarious jokes, classic songs, eye-catching dance moves and colourful costumes, along with one of the most familiar stories ever told, all come together for one fantastic pantomime experience. Plus, Johnny Vegas will star as The Magic Mirror, one who is not afraid to speak the truth! Also appearing in the role of Snow White will be Lucy-Jo Hudson, who has built quite the career in acting, dancing and singing, from the cobbles of Coronation Street to the wildlife of South Africa! We spoke to Lucy-Jo about her forthcoming appearance in Snow White, as well as her career highlights so far and her future ambitions. We also ask Lucy-Jo: what's the worst Christmas present that you've ever had?

First of all, tell us about your role in Snow White.

So, I play Snow White, and having read the script, I've noticed that Snow White has got a bit of banter about her. It's really funny, and she tries herself to be funny but she's not. She's also got her best friend Muddles, and they're really cute together. Obviously, Snow White also meets the Seven Dwarfs, she leaves the Kingdom because her step-mum is trying to kill her. When you think about it, it is a dark storyline, but the show is very light, with it being a panto. Then she meets the Prince and falls in love, and they live happily ever after!

Have you always been a fan of pantomime?

Yeah, I used to go and see pantos when I was a kid, and I would sometimes be one of the dancers when I was a toddler. And after I left Corrie I did Cinderella, which was the first proper panto that I did at the Lowry Theatre. I've not done anything in panto since then so I'm a bit nervous about getting into singing and full-on dancing again, but it'll be good fun, and everybody seems to love panto, so I'm excited.

I understand you have a fair amount of theatre experience yourself?

Yeah, I used to perform in theatre before I got into acting. I was mainly a dancer in theatre, so I did the dancing, a little bit of singing, and then it was straight onto acting. My career sort of changed once I got onto telly quite quickly.

You really made your name as Katy Harris on Coronation Street. What were the highlights of your time on the soap, and were there any scenes or storylines which you found difficult to perform?

It was so long ago now! The most difficult storyline was actually the one which led to me leaving, when Katy had to kill her dad and then she overdosed on sugar because she was diabetic, which led to her going into a coma, and then she passed away. They were pretty dark scenes, and they took quite a toll on me personally. I was crying 24/7 on set, so it's hard to leave that at work, and you end up taking it home. So, towards the end of my career at Corrie, I think that was the hardest bit, just because it was quite a heavy storyline for me. It was brilliant, amazing and challenging, so I did love it, but I was sort of ready for it to end as well. I loved my time there, though: my mates are still there, I met my hubby (Alan Halsall) when doing Corrie and he's still there. So, I still have a lot of love for Corrie; it's like family.

From there, you moved onto Wild At Heart, where you became a regular character as Rosie Trevanion. Are there any interesting stories you can tell from filming in South Africa?

Oh, there's so many! The animals never played ball. We'd be waiting for an hour for an elephant to turn up, and then it would decide that it didn't want to and it'd storm off set, so we'd be like "Okay, we're not doing that scene!" Giraffes would fall into the water, and this one day we had to finish by helping to dig this giraffe out of a pool that it had fallen into. Lions were escaping on-set (laughs) ... it was chaos! It looked magical and really easy on telly, but it was one of the hardest jobs that I've done, because the heat was intense, but we had to work around the animals, and they just didn't want to be on-set a lot of the time! So, it was brilliant, and it was amazing to be working up close and personal with the animals, but if they didn't want to do it, they'd let you know about it!

Earlier this year, you appeared on Dance Dance Dance, where you finished 2nd. How was that experience?

It was amazing! Harder than I thought; I thought I'd get in there and be like "Yeah, I can do it!" Oh my God, I was dying; by the end of the first week, I was done! I genuinely loved that; I started off in dancing, and I still have a passion for dance, even though I hadn't done it for over 18 years. So I wanted to do it. I had to push myself to some limits, but I really, really enjoyed it. That also got me back in panto, because being on stage made me want to do panto.

What are your future ambitions within your career?

I've just filmed a BBC drama which is out next spring with Robson Green. So, that opened a door for me getting into dramas that are quite serious, which I really want to do more of, things like the short six-parters. So, I loved that and I'd like that to continue.

Of course, this panto will be taking place over the run-up to Christmas. Can you tell us what the worst Christmas present is that you've ever received?

I can't wait for Christmas; if I could have my Christmas tree up all year round, then it would be up all year round. I love the lights, I love the songs; I love everything about Christmas! So, panto is perfect for me. As for my worst Christmas present ... I think I got a bangle from one of the markets, and it ended up going green after like one day. That was from an in-law, I won't say who, and I obviously don't have that anymore! (Laughs)

Finally, why should the St. Helens audience come to see Snow White?

For a start, it's got Johnny Vegas in it as the Magic Mirror. The cast are lovely, the script is very funny, and St. Helens Theatre Royal is a very intimate theatre, so you're gonna feel like you're a part of it. The songs are mega for all the kids, and it's gonna be a lot of fun. So, I think it will be magical, and it's the lead-up to Christmas where you'll want to see a panto, so you must come down!

Snow White & The Seven Dwarfs runs at St. Helens Theatre Royal from Saturday December 2 to Sunday January 7 2018. To book your tickets, click here.

Pantomime Review: Sleeping Beauty - St. Helens Theatre Royal, St. Helens

Image Source:
St. Helens Theatre Royal

Written By: Mark Armstrong

Format: Pantomime
Genre: Comedy
Date: October 22 2017
Location: St. Helens Theatre Royal

Pantomimes have increased in number over the last few years. From the usual Christmas tradition, we have been treated to Easter offerings, and now we have another pantomime just in time for Halloween.

Mind you, though there are some ghostly scenes, Sleeping Beauty is all about entertainment and fairy tale-esque magic, bringing smiles to children's faces while eliciting huge laughs from the adults. The great pantos do this seamlessly, and Sleeping Beauty at St. Helens Theatre Royal does a fine job of pulling this off to the point where, by the end, you're left with a positive impression on the characters and the show as a whole.

It did take a bit of time to get going, with the crowd being unusually quiet during the early scenes, but it soon kicked into high gear with the brilliant Tam Ryan, who played Chester The Jester. Many of his lines resulted in big laughs, and his scenes (such as a daft moment where he and the Dame, played by Simon Foster, were preparing edible treats for Princess Aurora's birthday celebration) were the highlights of the show. He was also great at ad-libbing and thinking on his feet during unexpected moments, the funniest being when the Dame's skirt accidentally fell off (fortunately, she/he was covered up to avoid blinding the audience!).

Laura Gregory played her role as the Princess well; Corey Rumble as the Prince was not involved as much as people may have expected, though. Claire Sweeney as Carabosse and Warren Donnelly as the King made up a strong cast (and you can read an interview from those two about this show by clicking here). Elsewhere, the settings were stunning, with great attention to detail (such as chandelier lights using a crown-shaped frame within the palace), and the use of ghosts and similarly scary creatures within the "spooky" tower gave this show more of a Halloween-esque feel than you would normally expect. There was also a varied soundtrack throughout the show, as well as performances of some recognisable numbers such as Kool & The Gang's Celebration.

Perhaps the funniest aspect of the show came towards the end, when a number of children were invited for some audience participation with prizes at stake. There's an old saying in show business about the unpredictability of working with children, and that thought popped up watching this part of the performance as the kids stole the show with hilariously high-pitched laughs, amusing answers and a feeling of independence when running around on stage. Chester played up to this brilliantly in his one way, making this the most memorable scene of the whole evening. The adults found this to be uproarious, as they did during other scenes where the "risqué" element of pantomime was taken as far as I've ever seen.

On the downside, there were a couple of issues with the special effects, as the pyrotechnics often left an unnecessarily strong smoky scent in the air, and the lighting was muddled in the closing scene of the first half. I also expected the show as a whole to last a little longer, and the story wasn't quite as strong as it could have been, mostly revolving around the showdown between Carabosse and the Prince, which seemed a little rushed. But the kids were delighted with the show as a whole, which is always the most important thing.

So, if you're looking for somewhere to take the kids this half-term, or even if you're an adult who is looking for a fun day out, then Sleeping Beauty is a terrific option to deliver a lot of laughs for all of the family.

Overall Rating: 8/10 - Very Good

Theatre Interview: Cheryl Fergison & David Heath - "You Come Out Of This Show With A Feel-Good Factor"

Image Source: Bill Elms

Written By: Mark Armstrong

The Wizard Of Oz is a timeless classic of a story, which celebrates its 80th anniversary in 2019. Before that, though, Dorothy and company are coming to life on the stage in an exciting pantomime for all of the family to enjoy. The show heads to the Epstein Theatre in Liverpool next weekend, but before then, we spoke to two of the stars from this production, Cheryl Fergison and David Heath, on their characters, their careers and their futures!

First of all, tell us about your characters in The Wizard Of Oz.

Cheryl Fergison: I'm playing the Wicked Witch Of The West, which I thoroughly enjoy because, since Heather Trott was such a nice character in EastEnders, it's really good to be playing a baddie and making lots of children cry for a little bit! (Laughs) It's a great part, and I get to be quite nasty in a cheeky kind of way, so I like that.

David Heath: I get to play the lovable Scarecrow. So, I'm Dorothy's first friend that she gets to meet. He's quite funny, quite dozy, and I love the character; I can act silly and not be serious, so that's good! (Laughs)

What previous pantomime and theatre experience do the two of you have?

Cheryl: This will be my third time working on this particular show. I only come back to shows that I really enjoy doing. I'm also about to do a panto in Carlisle; I've been doing panto for the last few years since I left Eastenders. But I do a lot of shows; I'm touring on a show called Menopause: The Musical next year, which I've been touring on for the last couple of years as well. So, there's a lot of theatre for me at the moment; I've done the odd bits of telly, but it's mainly theatre for me right now.

David: I've done pantomime myself, firstly as a dancer, and then I went on to playing different characters. It's nice to be playing the Scarecrow this time because I'm usually always the Prince, so I get to act a bit different and a bit sillier than in the Prince role. So, I do a lot of pantomimes. I've got one at Christmas also, but this one is just brilliant and magical for the whole family. There's a lot of things going on; they've got fire, pyrotechnics, glitter and everything. It's a great pantomime to be in; it's fun as well, with lots of new songs. It's really good, and it's got a real dog as well.

Cheryl: It's a great show, it's very modern, it's good for the families, and also it's a chance to be a bit nasty to make some of the young people cry. Chantelle Nolan, the producer of the show, slotted in loads of stuff that's gonna be great for the younger ones. There's UV scenes, there's puppets, and that kinds of brings it back round for the ones who may cry, to realise that nothing is as scary as it seems. It's a lot of fun, it's a really fun show. It's definitely the one thing that people should see during half-term in one of the three venues.

David: There's also some great talent including singers and actors. The kids will know all of the different songs; it's just a fantastic production to be honest.

Cheryl, how did you land the part of Heather Trott in EastEnders back in 2007?

Cheryl: I was in EastEnders two years previously playing Heather. You can't go into the show again until two years later, and the story was that I'd been in prison with Kat Slater for a couple of episodes. So, two years later, they wrote the part of Heather, and the casting person there (Julia Crampsie) said "I know somebody who could do this." So, they offered it to me first, I went in and read for the part. I thought other people were going to come in and read for it, but luckily I got it. I was only meant to be in it for about five episodes, or something like that, but then five years later I was still in it! So, it was brilliant. I loved it.

You've also appeared on many other television shows over the last ten years. what have been some of the highlights of this part of your career?

Cheryl: I would say that every show that I could participate in was a highlight for me, because it means that you're working, which is very, very good! (Laughs) That's always good for an actor. I've worked for some amazing people, and I'm still learning. I love going into new places within theatre and television and learning from all my peers, and even from the younger performers. It's what keeps me going. I've had a lot of highlights; EastEnders is obviously the main highlight. But I always say that my career highlights are still yet to come.

David: I think it was meeting me!

Cheryl: Yeah, it was meeting you! (Laughs)

David, you made your name as a member of Eton Road on the first series of The X Factor. How was this experience, and was there more pressure given that, despite knowing each other for a long time, the group had only officially formed a few days in advance?

David: Yeah, there was a lot of pressure at the time, but we absolutely loved the experience. I was only young at the time, so I wish that I knew then what I know now. But the whole experience was just absolutely fantastic. We got to be on TV every weekend with our best friends and to perform on the live shows. Then, we got to do The X Factor arena tour straight afterwards, which was an unreal experience to be touring the country in every arena, and I got to present it as well, so it was just surreal. I couldn't believe that I'd just come out of college and went straight into all of that.

Your career has taken on different directions since then, and you are currently running a dance school named Attitude Dance. When did this begin, and what does your work involve?

David: I'd trained in a musical theatre course in college, and I got my teaching qualification there, but obviously I went straight onto TV and I didn't get to use it. So, once I'd done all of the things that came from it, I thought that I wanted to come back to my hometown and I wanted to perform. I wanted to give what I've learned to the children in my local area, and to get them off the streets. Where I live in Bootle had received such a bad name around it, so I wanted to show that there was good about the area. There's good talent there, there's good people there, so I decided to open a dance school. I've been running it for seven years now, and we teach all different styles including commercial, street, lyrical and ballet, and for the whole family we have fitness classes for all ages. The youngest kid that we have is 4, and the oldest lady that we have is 65.

What are the future plans for you both?

David: I'd love to keep performing; I love to perform, hence why I'm in The Wizard Of Oz. I also want to make my dancing school as big as possible, as well as to hopefully open a college in the future, and to move it onto the next generation in that way.

Cheryl: Just to keep getting work, that's the plan! (Laughs) Seriously, I am moving up to the North-West from London very soon, so I may keep an eye out for Corrie or Emmerdale, or maybe I could be a Hollyoaks babe, I don't know! (Laughs)

Finally, why should the Liverpool audience come to see The Wizard Of Oz?

David: I've brought my little niece to come and watch it. She came as Dorothy, and she was so amazed at the glitz and the fireworks. She's only two, and she never stopped staring at the stage, the fire, the fireworks, the colour, and she loved the music. Plus, as I mentioned, there's a real dog on stage, and the characters are so true to how they should be based on those playing them; Cheryl was so involved with her Witch character. So, I think that the show is just so magical, and it's supporting a Liverpool-run company as well.

Cheryl: I think it's one of those shows where you come out with that feel-good factor. You can come with your family, or you could come on your own. It is meant for everybody, and there's something in it for everyone, so everybody will identify with it, and the story is fantastic. So I think it's something that you must come and see; come out of your home, come away from the television, and just have a great memory with your family or your friends.

The Wizard Of Oz runs at The Epstein Theatre from Friday October 27 to Sunday October 29. To book your tickets, click here.

Theatre Interview: Claire Sweeney & Warren Donnelly - "There's Nothing Quite Like Pantomime"

Image Source:
St. Helens Theatre Royal

Written By: Mark Armstrong

Nothing beats a good panto. Whether you're young, old or somewhere in between, a pantomime is a great experience filled with capers, music, dancing and a fair few risqué jokes! Sleeping Beauty is the next such panto on the agenda, as it heads to St. Helens Theatre Royal. Before the cast down their hats, frocks and capes, we spoke to two of the main players in Sleeping Beauty, Claire Sweeney and Warren Donnelly, who provided an insight into the show and their backgrounds in pantomime, theatre and beyond!

First of all, tell us about your roles in Sleeping Beauty.

Warren Donnelly: Well, I'm the King, a nice jolly King who rules the nice jolly Kingdom, but who unfortunately tangles with the evil Carabosse. So, it's a very nice role, it's a funny role, there's lots of excitement and adventure, and I'm having a whale of a time doing it.

Claire Sweeney: I play the evil Queen Carabosse. She's an absolute horror! She's pure evil through and through, but by the end of the show, she sees the light and becomes good!

What previous pantomime experience do the two of you have?

Warren: There have been many, many great pantomimes. They're always great.

Claire: We've had one together; we did a panto together at the Liverpool Empire, so it's nice to be back working together again!

Warren: The one thing about a panto is that there's nothing else quite like it, so it's all good fun.

Claire, what led to your big break playing Lindsey Corkhill on Brookside in 1989?

Claire: I simply auditioned and got the part. That was it, really. I was a singer before that. I'd done loads and loads of singing, and I hadn't done any acting. Brookside was my first acting role, so I kind of learned on the job.

Warren, tell us about your career prior to earning the role of Stan Waterman in Shameless.

Warren: I was very lucky. I was just an actor auditioning for lots of things, doing a lot of theatre shows and some bits of television, and out of the blue, an audition came through for Shameless for what was meant to be one episode, and it carried on from there.

Claire, since leaving Brookside, you've appeared on many television programmes including Celebrity Big Brother and Loose Women. What were some of your highlights from this period of your career?

Claire: The highlight of my career was performing in Guys and Dolls on the West End, working opposite Patrick Swayze. That was definitely my career highlight.

As you mention, you've also built up quite the theatre career. which productions stand out as being particularly significant for you, and what is the difference between performing in a major theatre show and performing in a pantomime?

Claire: I suppose there is a lot more discipline in a major stage show, as it's a lot more regimental and stricter. We do need some discipline when performing a panto, but there is more freedom to go off-script and have a little bit more fun, I suppose. You also break the fourth wall with panto; you turn and talk to the audience, whereas when I was performing in Tell Me On A Sunday or Chitty Chitty Bang Bang, you don't stop to talk to the audience.

Warren, you've also appeared in other television shows and movies. How was the experience of being on set for Going Off Big Time and Millions?

Warren: It was good fun. Going Off Big Time was really fun to shoot. It was the same with Millions; to be honest with you, for all the acting experience that I've had, I haven't had too many bad ones. It's good to be working, and it's good to be doing a variety of things in panto and film. They've all got their own disciplines; they're all about working hard and having fun. If you're an actor performing and you're working with nice people, you've got nothing to complain about!

Warren, you recently played Geoff Smith in Holby City. What are your future plans within television?

Warren: I'm doing a television job immediately after this pantomime, and then after that, who knows? It's the life of an actor; you go from job to job or you don't, but you're constantly looking for work, you're constantly pushing yourself and promoting yourself, and you see what happens. It's not like a lot of careers where you know what you're doing from one week to the next, or from one month to the next. Quite often, you don't know. You might think that you're doing nothing, and then you get one phone call from your agent and suddenly you're mad busy. So, I'm going to keep on doing what I've always done, and that's keeping on, as the old cliché goes.

Finally, tell us why people should come along to St. Helens Theatre Royal to see Sleeping Beauty?

Claire: Well, first of all, it's half term, so it's something great for the kids to do during half term, which is lovely! I have to say that the cast is phenomenal. I've been working with them all; Warren is a brilliant actor anyway, but the rest of the cast has just great talent. It's a beautiful show, there are great songs in it, and there's lots of laughter in it. I just think it's something brilliant for the kids to do during half term.

Warren: What always amazes me is that even though we're living in 2017, where children are so sophisticated, what the children and families still like is a good story that is well-told. There's songs, there's dances and there's loads of audience participation. Also, the Theatre Royal up here in St. Helens is lovely; it's a hidden gem. So over half time, why not get your kids out, take them to see a very good show, and you never know, they might decide in years to come to do a bit of acting, singing and dancing themselves. I used to go to pantos myself as a little boy, and I used to love it, so why not get them out of the house and see our show!

Sleeping Beauty runs at St. Helens Theatre Royal from Saturday October 21 to Sunday October 29. To book your tickets, click here.

A Spectacular Season Of Entertainment At Liverpool's Theatrical Gem!

Image Source: Epstein Theatre

Written By: Mark Armstrong

The Epstein Theatre are continuing their exciting season of entertainment for autumn/winter 2017 - from thought-provoking drama to sing-along musicals, great music, hilarious comedy and fun for all the family. You can book tickets for the shows at www.epsteinliverpool.co.uk/whats-on.

Image Source:
Epstein Theatre

Former Never Mind The Buzzcocks chairman Simon Amstell is embarking on his fifth UK tour, What Is This, which promises to be a deeply personal, funny exploration of beauty, intimacy, freedom, sex and love. See him on November 2.

Gok Wan – Naked and Baring All, on November 15, sees the TV fashion guru revealing all about his life, from humble beginnings on a Leicester council estate, to becoming one of the country’s most recognised faces.

Award-winning Jason Byrne returns to the Epstein on November 23 with his hilarious new show The Man With Three Brains. The fastest thinking comic around will not only trip himself up, but probably you too.

Music lovers are in for a treat this season with the Epstein’s musical offering which has something for everyone – from My Leonard Cohen, a tribute to the great singer-songwriter from October 13-15, to Wannabe – The Spice Girls Story (October 19).

Image Source:
Epstein Theatre

There are also tributes to the late great Marc Bolan, 40 years after his death, with a visit from T.Rextasy on November 16, while the next evening the music of Swedish superstars Abba is celebrated in Gimmie Abba.

And there are also a host of original artists making a date with the Epstein during the Autumn.

You won’t want to miss The Pies + Mark Roberts on October 20. Liverpool’s legendary graffiti band will play a rare live set at the Epstein following up on the release of their Best of Pies album. And they will be supported by the world’s greatest streaker, Mark Roberts, doing a stand-up spot.

Liverpool favourite Joe Longthorne appears at the theatre on November 3 in a show that was originally due to take place at the end of May. He will appear with his sensational live band and a special guest artist. And 80s singer Hazel O’Connor brings her big vocals to Liverpool on November 21, performing all the hits from her first three albums including Breaking Glass.

Image Source: Epstein Theatre

And it may be cold outside but it will be hot, hot, hot in the auditorium when the hunky Dreamboys pay a visit to the theatre on November 24. The UK’s top male strip show is perfect for a girls night out with all your friends. It’s a hard knock life for LHK Youth Theatre which presents Annie the Musical from November 10-12, while The Heath Perform and LIPA 4:19 present a special schools edition of the iconic musical Les Miserables on November 18-19.

Young audiences are at the heart of much of the Epstein’s Autumn programme.

Image Source: Epstein Theatre

Click your heels and follow the yellow brick road to make a date for the hugely popular The Wizard of Oz, starring EastEnders’ Cheryl Fergison as the Wicked Witch of the West, which comes to the theatre for three days from October 27-29.

Little ones will love The Night Pirates on November 4-5. Adapted from the best-selling children’s book by Peter Harris and Deborah Allwright, it tells the tale of a group of little girl pirates who descend on a young boy called Tom at bedtime. Eager to join the pirate adventure, Tom uses his house as a pirate ship and sets sail to retrieve stolen treasure from Captain Patch and the bumbling grown-up pirates.

Finally, this year’s fantastic festive show sees a return for the boy who never grew up. Families are invited to fly away on a flight of fancy and fun with Peter Pan. The show features 90s boyband star Dane Bowers as Peter Pan’s arch nemesis Captain Hook, 2016 Britain’s Got Talent contestant Lewis Pryor flying across the stage as the titular Peter, and Radio City’s Claire Simmo who will be adding lots of glitz and sparkle as Tinkerbell.

Rebekah Pichilingi, theatre manager, commented: “Yet again we’ve put together a brilliant line-up of shows for our autumn/winter season, with something to appeal to everyone, whatever your taste or budget, from comedy to family entertainment, and drama to some great musical tributes and original artists.

“The team and I are confident we will be welcoming you back once more to this delightful theatre in the heart of Liverpool.”

SHOW LISTINGS:

My Leonard Cohen
Date: Friday October 13–Sunday October 15
Time: 8pm (Friday), 1.30pm and 8pm (Saturday), 6pm (Sunday)
Tickets: From £16

Wannabe – The Spice Girls Show
Date: Thursday October 19
Time: 8pm
Tickets: £19.50. Concessions £17.50.

The Pies + Mark Roberts
Date: Friday October 20
Time: 8pm
Tickets: £16

The Wizard Of Oz
Date: Friday October 27–Sunday October 29
Time: 6pm (Friday), 10.30am, 1pm and 6pm (Saturday), 12pm and 4pm (Sunday).
Tickets: From £13

Simon Amstell: What Is This?
Date: Thursday November 2
Time: 8pm
Tickets: £24

Joe Longthorne
Date: Friday November 3
Time: 7.30pm
Tickets: £23.50

The Night Pirates
Date: Saturday November 4–Sunday November 5
Time: 1.30pm (Saturday), 11am and 2pm (Sunday)
Tickets: £13.50. Family ticket £46.

Annie - The Musical
Date: Friday November 10–Sunday November 12
Time: 7pm (Friday), 1.30pm and 6pm (Saturday), 2pm (Sunday)
Tickets: £16.50. Concessions £14.50.

Gok Wan – Naked and Baring All
Date: Wednesday November 15
Time: 7.30pm
Tickets: £26

T.Rextasy
Date: Thursday November 16
Time: 8pm
Tickets: £20

Gimmie Abba
Date: Friday November 17
Time: 1.30pm (Saturday), 11am and 2pm (Sunday)
Tickets: £19.50. Concessions £17.50.

The Heath Perform/Lipa 4:19 ‘Les Miserables’
Date: Saturday November 18–Sunday November 19
Time: 7pm (Saturday), 2pm and 7pm (Sunday)
Tickets: £15/£13

Hazel O’Connor
Date: Tuesday November 21
Time: 7.30pm
Tickets: £26

Jason Byrne – The Man With Three Brains
Date: Thursday November 23
Time: 8pm
Tickets: £20.50

The Dreamboys
Date: Friday November 24
Time: 3pm and 7pm
Tickets: £23.50. VIP tickets £28.50

Jack and The Beanstalk
Date: Saturday December 2
Time: 7.30pm
Tickets: £16

Peter Pan
Date: Friday December 8–Monday January 1
Time: Start times vary
Tickets: From £10-£63

To book tickets, please call 0844 888 4411* or go online at www.epsteinliverpool.co.uk*, or in person at the Epstein Theatre Box Office from 2pm-6pm from Monday-Thursday and 12pm-6pm from Friday-Saturday.

*Subject to booking fee. All prices include a £1 per ticket venue restoration levy

For more details, check out www.epsteinliverpool.co.uk and join our mailing list. Follow us on Facebook at www.facebook.com/EpsteinTheatre and on Twitter @EpsteinTheatre.