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

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 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: 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: 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

Theatre Review: The Last Five Years

Image Source: Epstein Theatre

Written By: Scott Gunnion

Format: Musical
Genre: Drama
Date: June 15 2017
Location: Epstein Theatre, Liverpool, England

As always, I go into these things with hopes both high and burdened; burdened, I concede, by my own prejudices.

The premise sounded familiar. An actor and a writer fall in and out of love. Their story told from both perspectives. It sounded very La La Land, I sneered, even though the material pre-dates the well-known film.

Then I read that the two leads were a real-life couple. Again, I sneered: "Artists". I thought immediately of how every film George Clooney gets his hands on turns out to be a pious passion piece about some obscure political subject nobody in the mainstream really cares or wants to hear about.

But I like to be proved wrong.

Jamie (Graham Tudour) tells his story from the start, Cathy (Helen Noble) from the end, and eventually they meet in the middle. This was sometimes hard to follow, and I felt that, with a different structure, the finished product could have been better and much more accessible.

The story was entirely in song. To be frank, it was a joy to watch.

You soon get past the syrupy fake American accents and find yourself bowled over by the two leads and their imposing vocal talents which were impressive and to be commended.

Helen Noble, who played Cathy, had killer legs. It was hard not to be distracted, though sometimes I felt that the story behind her narrative wasn't entirely clear. Again, a flawed structure. I criticise, yet what I felt was pure enjoyment from start to finish. Far from perfect, the entire performance was nothing less than immensely infectious. And clocking in at 90 minutes in length (without interval), it amounted to a succinct retelling of love and loss, heartache and pain.

I entered a healthy sceptic, but left with a massive smile (on the inside, at least) and a spring in my step.

The staging and set were minimalist, but used effectively. Regardless, all the attention was on the two actors; the only actors in the performance, I should point out.

And entirely in song? How could one not fall in love. Or at least wobble at the prospect.

The Last Five Years never made it to Broadway, but has done the rounds on the American theatre scene. I felt that the two leads were trying to champion a hitherto un-championed musical that, might otherwise go forgotten and unappreciated. I wish them well because the performance I saw was more than worthy of big audiences and big applause.

Alas, there were no happy ending for the characters on stage, but as a theatregoer, you leave the theatre having been treated to a real gem.

Overall Rating: 7.5/10 - Good

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 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

Theatre Review: Billy Elliot: The Musical

Image Source: ATG

Written By: Mark Armstrong

Format: Musical
Genre: Comedy Drama
Date: May 11 2017
Location: Liverpool Empire Theatre

Billy Elliot: The Musical has become one of the bigger hits on the theatre stage in recent years. It began in the West End in 2005 and has toured all over the world since then, but of course the story of Billy Elliot comes from the movie of the same name, which was released in 2000. Expectations were high as the production made its debut at Liverpool Empire Theatre, and I'm pleased to report that the show as a whole was a big success.

With the coal miners' strike just about to begin in County Durham, eleven-year-old Billy Elliot (Adam Abbou) is left to fend for himself in some respects, as he goes to boxing class while his violent, outspoken father (Martin Walsh) and brother Tony (Scott Garnham) are preparing to clash with the police. It quickly becomes obvious that Billy is not cut out for boxing, but he soon discovers after happening to witness a ballet dancing class, led by Mrs Wilkinson (Anna-Jane Casey), that he has both a passion and a flair for ballet. After initial reluctance, partly due to the feelings (held by many at the time, unfortunately) that a man or a boy wanting to dance and practice ballet must have been gay, Billy soon gives it a try, replacing boxing training with ballet classes. It is obvious that he has real talent, and Mrs Wilkinson notices how much potential Billy could have if he were to pursue ballet in an upper-class private school, especially given the economic turmoil at the time.

Sadly, Billy's father and brother do not share this belief. In fact, they are outraged that Billy would sooner pursue ballet than boxing, or a similarly "manly" field. Billy feels isolated, with his mother having died years earlier, but a letter from his mum convinces the previously-harsh Mrs Wilkinson that Billy has a genuine chance at success, and after noticing the reactions from his family, she provides private tuition and lands him an audition at the Royal Ballet School. This only leads to further problems, though, as Billy's family force the issue, forcing Mrs Wilkinson away and denying Billy the chance to follow his desired path in life.

Months later, after a drunken song at a Christmas party makes Billy's father emotional, he soon realises that Billy (who had abandoned dancing for months after being upset by his family, but is revitalised one evening and practices ballet again, watched by his father unbeknownst to him) deserves a chance to follow what could be his true calling. He eventually decides to return to work so that he can pay for Billy to audition for a private ballet school, which infuriates the striking miners, not least the increasingly-aggressive Tony who considers the struggling miners' cause to be more important than watching his brother strive for his dream. Finally, Billy receives the opportunity to audition in London for the Royal Ballet School, but questions remain as to whether he can deliver on his potential in front of a completely different, and far stricter, panel of dancing experts, and how the risk of paying so much for his audition could backfire on Billy and the family, in the event that his audition is not a success.

The show is a blend of several elements. It is part-comedy and part-drama. It has a lot of dancing (as you would expect), and many original songs as well. There are plenty of laugh-out-loud moments (many provided by the surprisingly large amount of swearing by the kids as well as the adults, with some lines by the young 'uns being a real eyebrow-raiser), and also some more emotional scenes which may draw a few tears from those in attendance. The story is easy to follow, and is logical and true to the traditions and beliefs held by working-class people at the time, particularly males, and during one of the more difficult and trying periods in modern British history in the form of the coal miners' strike, brought about by the questionable leadership of the country under Margaret Thatcher.

The production is spectacular. Some early scenes place the emphasis on the actors and their dialogue as opposed to the backdrops, but later scenes bring the stage and the theatre to life with lighting effects that are bound to wow the crowd, excellent costumes, incredible special effects and some very unusual props (such as a huge Margaret Thatcher puppet which overpowers the stage during a song based around deriding her and her government). There are quite a few surprises thrown in as well, so the audience should never feel like they know what is coming, and the story itself is a gripping one, one that many in attendance may relate to, having lived through the coal miners' strike and similar problems themselves.

It's the performances which stand out the most, though. Adam Abbou is fantastic as Billy Elliot, from the dancing to the singing to the acting, along with comic timing and a talent for expressing raw emotion when appropriate, resulting in one of the most impressive theatre performances from a child that you are likely to ever see. The supporting cast are not too shabby, either: Martin Walsh is excellent as Billy's father, with his stubborn and dated opinions eventually morphing into the consideration and care that he should be providing for his son. Anna-Jane Casey is believable and entertaining as Mrs Wilkinson, and she delivers some brutal one-liners that should have the audience in raptures of laughter. Finally, Bradley Mayfield also delivers an outstanding performance from a child actor as Michael; in particular, his comic timing is exceptional, and can be compared to that of most adult actors and actresses that I could think of off the top of my head.

The main drawback to this show is that it comes in at just over three hours, which is a very long time to be sat in a theatre (the original movie only lasted 110 minutes). Granted, most of the show is utterly compelling, but certain scenes could have been trimmed or removed altogether, resulting in a less bloated production and a generally more enjoyable theatre experience. In addition, some scenes which were important to the movie (including the very last scene, which I won't spoil) are not present in the show, despite its overly-long length, and some minor story arcs are not really resolved. On a personal note, I felt a little uncomfortable, partly due to some overly-excited attendees who wanted to make their voices heard whenever possible (I believe they were from London, which may explain why they inexplicably booed the mention of Liverpool during a transitional scene, at a moment when everyone else in the Empire, of course, cheered), and partly because, presumably for a laugh, some wolf-whistled the kids on occasion (during scenes where the costumes were deliberately absurd), which felt a bit weird to say the least. None of these could spoil my enjoyment of the show as a whole, however.

To conclude, Billy Elliot lives up to its immense hype by delivering one of the strongest theatre productions that one could possibly see, and I would highly recommend the show to all theatregoers.

Overall Rating: 9/10 - Outstanding

Buddy - The Buddy Holly Story

Image Source: ATG

Written By: Seán Fitzsimmons

Format: Musical
Genre: Musical
Date: April 27 2017
Location: Liverpool Empire Theatre

Beginning in Lubbock, Texas, a young Buddy Holly (Glen Joseph), with the support of local radio DJ Hipockets Duncan (Matthew Quinn), sets his sights on fame and becoming a star. With his two pals Joe (Joe Butcher) and Jerry (Josh Haberfield), The Crickets are a trio of fun and talent. Enjoying the platform of local radio, Buddy decides to pursue his real passion - rock 'n' roll.

It soon becomes apparent that these three young musicians have much to overcome in their bid to break into the charts. With suspicion and even out-right rejection of rock 'n' roll, there are many slow to acknowledge Buddy's exceptional talents.

Following a false start at Decca Records, Nashville, the band begin to record with Norman Petty (Alex Tosh). Within weeks, their biggest hit That'll Be The Day is number one in the charts and the ascent to stardom continues rapidly.

At first impression, this story is full of positives and The Crickets are on their way; sadly for the group, this high was to be short-lived.

As Buddy tours the states with his unique look of thick-rimmed glasses and a tightly-buttoned jacket, he meets new adversities: racial division, conflict around contracts and a battle between his new bride's affections and his commitment to the band.

Soon, tensions are at their peak and Buddy breaks away from The Crickets. Going it alone, he sets out to make a life and a home for himself and Maria Elena (Kerry Low). With a baby on the way, Buddy sets off to perform at the Winter Dance Party. It is during this tour that Buddy and his two friends The Big Bopper (Thomas Mitchells) and Ritchie Valens (Jordan Cunningham) take a flight that ends both their careers and their lives. A snow-storm is the cause and, with that, the moment is beautifully captured on stage and Buddy's passing is announced. It truly was "the day the music died".

Punchy and energetic from the first note played, Buddy - The Buddy Holly Story is as well-played as it is well-acted. With a cast of pure theatre and musical talent, this show is a five-star hit.

Each member of the casts contributes perfectly to the story of young Buddy, and the rapport on stage is so tangible, the audience soon feel as much a part of the gig as those singing and playing. Glen Joseph is excellent as a vocalist, and his emulation of some of Buddy's notable sounds is spot-on. Miguel Angel's singing and dancing are only equalled by the fantastic and impressive Jordan Cunningham.

There are no "lesser roles" in this production, and each musician and actor present a performance in their own right. Matthew Quinn is hilarious as Clearlake's MC and equally notable as Murray Deutch.

In the same way as Buddy made rock 'n' roll relevant in the 1950s, this show brings it back into our current decade with punch, zeal and a list of hits that will have the audience dancing all night. Classics such as Heartbeat, It's So Easy (To Fall In Love), Peggy Sue and many more will entertain listeners old and young.

Buddy - The Buddy Holly Story is fantastic. It is nostalgia to the older generations as much as it is an education in music for the younger.

With tickets still available, this is a show you won't want to miss.

Overall Rating: 9/10 - Outstanding

Theatre Review: Ghost - The Musical

Image Source: ATG

Written By: Mark Armstrong

Format: Musical
Genre: Romantic Thriller
Date: April 10 2017
Location: Liverpool Empire Theatre, Liverpool, England

If you have ever seen the movie Ghost, you will know what to expect from the theatre version of the popular film, which recently came to Liverpool Empire Theatre. If you are unfamiliar with the movie and you are coming to the show with a fresh set of eyes, so to speak, then you may be in for a surprise, in more ways than one.

Ghost tells the story of a budding romantic couple, Sam Wheat (Andy Moss) and Molly Jensen (Carolyn Maitland), whose love for one another is known by others, in particular Sam's friend and work colleague Carl Bruner (Sam Ferriday), who is made aware that Sam has discovered bizarrely large amounts of money in various obscure bank accounts. The happy and slightly corny situation is turned on its head when a mugger shoots Sam dead, with Molly understandably devastated. However, Sam, now a ghost, is still able to see what is going on and how people are reacting to the murder, but as he is now a spirit, he can do nothing about it.

He uses psychic medium Oda Mae Brown (Jacqui Dubois), who was previously conning people by telling them she could communicate with the dead when she could not, and is freaked out when she genuinely does communicate with a ghost, to speak to Molly and warn her that she remains in danger, especially when Sam discovers that Carl was in on the murder and is aligned with Willie Lopez (Leo Sené), setting him up to steal Sam's wallet (but not necessarily to kill him). Molly remains in danger with Carl and Willie out to gain access to the huge amounts of money in the previously-mentioned bank accounts, even if it means killing Molly in the process, but he can only rely on Oda to try and convey messages of help and warnings to Molly before it is too late, whilst also trying to find alternate ways that he can somehow intervene himself.

Jacqui Dubois provides the stand-out acting performance as Oda Mae Brown due to her ability to mix comedy with the very real drama of the story, just as Whoopi Goldberg had done so well as Oda Mae in the movie. There are quite a few songs throughout the show, with Carolyn Maitland delivering some memorable musical moments while performing With You and Nothing Stops Another Day. Of course, those with keen musical knowledge will be familiar with Unchained Melody, which we hear more than once and acts as the backdrop for the show's most famous scene near the beginning (which I won't divulge here, since there's a good chance that you'll know what scene I am on about).

The settings are excellent, in particular the use of a New York subway train during some scenes where Sam encounters fellow ghosts. I also liked the use of lighting, as well as the dramatic effects used to build up suspense and tension during the more nervy moments of the show. The cast of dancers were very good, bringing scenes to life by demonstrating the general hustle and bustle of New York City, and there were some real touching moments towards the end of the show. Obviously, the musical followed the screenplay of the film, so the characters, the humorous scenes and the more emotional moments were all in line with the motion picture.

Oh that note, as the musical is telling the same story as the movie, this is an observation on the plot of Ghost as a whole rather than nitpicking the musical itself. That being said, I found the story to be quite confusing at times, especially during the latter stages. Let me rephrase that: one could understand the story being told, but certain moments involving Sam were unexplained and therefore seemed to contradict the rest of the tale. I won't give away what happens at the end for those who don't know, but there is a late twist which, again, felt strange and was not explained in enough detail to make sense, in my opinion. I also felt that some scenes were a little on the weird side to the point of feeling a little uncomfortable, although again I have to point out that this show is only following the plot strands of the film.

To conclude, when it comes to Ghost, one does not have to have seen the movie to enjoy the musical, but it definitely helps. Those who have previously seen the flick should really appreciate this show. Those who haven't will still enjoy it, but may be scratching their heads or feeling a bit unnerved at some points. Overall, though, I give it a thumbs-up.

Overall Rating: 7.5/10 - Good

Grease

Image Source: The Guide Liverpool

Written By: Mark Armstrong

Format: Musical
Genre: Romantic Comedy
Date: April 3 2017
Location: Liverpool Empire Theatre, Liverpool, England

Grease is one of the most famous films of all-time. The story is easy to follow, the characters are memorable, the performances are excellent, and the songs are timeless. Nearly 40 years on, it remains a true favourite, garnering high viewing figures whenever it's shown on television. Therefore, the prospect of seeing Grease on stage was pretty enticing. However, those who know their stuff about Grease will know that the film is actually based on the musical, not vice versa. Nevertheless, the movie itself is what most people think of, and so a high bar was raised for the 2017 incarnation.

Set at Rydell High School, Grease tells the story of two groups: the T-Birds and the Pink Ladies, consisting of guys and girls respectively. Within those two cliques, we're introduced to Danny Zuko (played here by Tom Parker of The Wanted) and Sandy Olsson (Danielle Hope), who previously met during a vacation and have been reunited here in Rydell. Initially unaware that the other is present, but telling their various friends about the summer romance, Danny and Sandy soon realise that they are both in Rydell, and the crux of the story then centres around whether they can take their previous romance any further, not least because of several bumps in the road along the way. We're also privy to other relationships involving members of the T-Birds and Pink Ladies, such as the blossoming romance between Kenickie (Tom Senior) and Rizzo (Louisa Lytton), who have setbacks of their own. Different scenes are introduced by Teen Angel/Vince (Darren Day), who adds some comic relief at times whilst also acting as a buffer between developments at time through his announcements on the local Wixx Radio.

Of course, the story - which is mostly light-hearted and feel-good, with some comedy thrown in fairly often - has one other element, which is the most memorable part of the Grease experience: the music. There are plenty of catchy songs, as any Grease fan will be aware of, and all of the favourites are performed here. They include Grease (Is The Word), Summer Nights, Hopelessly Devoted To You, Greased Lightnin', We Go Together and You're The One That I Want. Suffice it so say, disregarding everything else for a moment, if the idea of a good sing-a-long and a dance is what you want from a theatre show, then Grease definitely (and unsurprisingly) succeeds.

On a musical level, and also from an acting standpoint, Danielle Hope was the star of the show as Sandy, perfectly reprising one of the most memorable female roles in cinematic history. Tom Parker's singing was strong, but his acting as Danny Zucko was not quite as convincing in channelling John Travolta as Danielle had been in regards to the original actress who played Sandy in the movie, Olivia Newton-John. The rest of the cast were mostly strong, with Louisa Lytton shining more as an actress and as a character than as a singer, whilst Darren Day, who was more of a background player in the first half, came into his own and provided some laughs in the second half. The comedy in general didn't quite jump off the stage and stand out as much as some attendees may have thought, at least in my opinion, but there were definitely some comical moments, such as the Beauty School Dropout scene.

The settings were superb, using excellent lighting effects and additional props to bring us into specific locations like a canteen, a sports hall and an American diner. The use of the show's main logo as a large-scale red-and-white LED light was eye-catching and colourful, and provided a great background for attendees prior to the show beginning. I liked the little nuances too, such as the light-up guitar. The best part of the show from a production standpoint was the use of the Greased Lightning car with additional lights and striking physical features, making sure that the car - obviously an integral part of the story - was one of the more memorable aspects of the show, and brought about strong audience reactions whenever it appeared.

Summing it up, this is obviously a show which will go down most positively with anyone (or should that be just about everyone?) who has seen the movie Grease. I'm not sure if the show truly lived up to the standard set by the admittedly-classic film, and it wasn't necessarily a show that will "wow" you, but with its catchy songs, easy-to-follow story and cool visual techniques, you'll still have a good time reliving one of the most memorable movies of all-time in this latest theatre production.

Overall Rating: 8/10 - Very Good

Funny Girl

Image Source: West End Theatre

Written By: Mark Armstrong

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

Funny Girl first debuted on Broadway way back in 1964, making its West End bow in 1966. However, it has only recently been revived, so the vast majority of those seeing the show on its current run will be doing so for the first time. But regardless of whether you're a newbie to Funny Girl or if you actually saw the show back in the sixties, you're in for a real treat.

Set in New York City shortly after World War I, Funny Girl tells the story of Fanny Brice (played here by Sheridan Smith). Having been considered an outcast due to her not-exactly-supermodel figure and her occasionally overbearing yet amusing nature, Brice is initially ignored but uses her quirks and sheer talent to earn a job within vaudeville. Despite advice suggesting that she couldn't cope with the potential downsides of fame and theatre, Fanny is insistent on following this unexpected career path, which sees both her name value and financial fortune grow. At the same time, she bumps into businessman and gambler Nick Arnstein (played by Chris Peluso) on several occasions, which eventually leads to a romance between the two and, later, marriage and motherhood. Taken off her feet by Nick, Fanny risks her career and everything she has worked for to be with Nick and to help him. However, it is Nick whose life is more affected by their marriage, as a combination of Fanny's controlling nature and some unfortunate incidents relating to his business lead to a series of events which put a strain on their relationship and, ultimately, their futures.

The story is essentially one of two halves: the first half has a huge emphasis on comedy, largely provided by the Fanny character, whereas the second half, whilst having some amusing scenes, has a greater focus on drama, particularly in the final quarter. There are quite a few songs throughout the show, not just during Fanny's vaudeville routines but also during transitional scenes, with singing and dancing provided not only by Fanny and Nick but also some of the secondary characters, such as Mrs Nadler (Jennifer Harding) and Eddie Ryan (Joshua Lay).

Sheridan Smith is the undisputed star of the show, and her character and her performance as a whole make the show a big success. Her material is funny (no pun intended), but she throws herself into the role; as a matter of fact, I genuinely was wondering if somebody else was playing Fanny because from my vantage point, it didn't look like Sheridan, and the mannerisms, American twang and general appearance of Fanny seemed very different to Sheridan, even when Smith is playing a character totally different to her actual self. That is quite the compliment: Sheridan is so convincing, so believable, and so unique as Fanny that you believe Fanny is a real person, rather than someone playing her (although this is based on a true story about the actual Fanny Brice). That she is very entertaining, from her OTT dance manoeuvres to her quick-wit and one-line quips to her loveable nature while messing up in an almost clueless fashion, makes her character one of the more memorable that you will see on the theatre stage, and although the supporting cast (led by Chris Peluso, who is excellent as the business-like yet generous and well-intentioned Nick Arnstein) are very good as well, the show is a major success because of Sheridan as Fanny.

Elsewhere, the settings are simple but effective, with a slanted image changing based on the scenes from a theatre backdrop to the front room of a mansion (where Fanny and Nick end up). The costumes were of a high standard, which included the deliberately comical attires sported by Fanny during some of her vaudeville routines. I thought the running time was a little on the long side; the first half lasted almost 90 minutes, so it probably could have been streamlined a bit and the show as a whole likely would not have suffered. Not that its length mattered as the audience was captivated throughout the entire thing, with standing ovations at various points as well as loud laughs and audible emotions during the sadder scenes (as well as a fair amount of coughing; I heard five coughs at once during one scene which was unusual). Amongst the stand-out songs were People, If A Girl Isn't Pretty, You Are Woman and Don't Rain On My Parade, with Fanny's second rendition of Don't Rain On My Parade probably being the standout song of the production.

Providing a mix of great comedy and real drama, backed up by some sensational singing and dancing performances, Funny Girl is a show of the highest standard and one that I would definitely recommend for all theatre aficionados.

Overall Rating: 9/10 - Outstanding

Rent

Image Source: Ents 24

Written By: Mark Armstrong

Format: Musical
Genre: Musical
Date: February 28 2017
Location: Liverpool Empire Theatre

Currently on a 20th anniversary tour of the UK, Rent quickly became one of the most successful shows on Broadway upon its original 1996 debut. It has attracted a major following worldwide, particularly amongst a younger audience (there appeared to be a lot of students in attendance for the latest Liverpool presentation), so suffice it to say that expectations were fairly high heading into this one.

I found it difficult, however, to follow the lead story. The show is performed almost entirely in song; only around 5% of the production, if that, uses dialogue or physical performance as opposed to music. Partly due to this, and partly because we are introduced to a variety of characters and situations in a whirlwind fashion, it takes a good while to understand what is happening. It's only towards the end of the first half when one can truly put everything together, although the second half does make everything a lot more clear to those who may not have read up on the plot beforehand.

In a nutshell, set in the 1980s in the heart of New York City, the story explains that roommates Mark (Billy Cullum) and Roger (Ross Hunter) are struggling with paying their rent to landlord and former friend Benny (Javar La'Trail Parker). Their friend Collins (Ryan O'Gorman) is mugged, but is found in the street by Angel (Jordan Laviniere), and there is an immediate spark between the two; we learn that the two happen to be gay and that they are both HIV positive. Add to that the fact that Roger is also HIV positive, and it becomes harder for him to spark up a new relationship of his own with the flirtatious Mimi (Philippa Stefani), who is also HIV positive, since his previous girlfriend had committed suicide partly due to her having the exact same health predicament. We soon see that there is a common friendship between all involved (except Benny), as well as Maureen (Lucie Jones) and Joanne (Shanay Holmes), a lesbian couple who are planning a protest against Benny and similar authorities who have forced a lot of people onto the streets, having threatened to do the same to the likes of Mark and Roger.

The protest, which is going to take place on Christmas Eve, eventually leads to a full-on riot, but the outlandish and flamboyant social circle of friends are ultimately brought closer together and all have big ambitions moving forward, whether that they within their relationships or their hopeful careers (Roger wants to produce a rock song, Mark hopes to become a filmmaker and Collins wants to open a restaurant in Santa Fe). There are some tiffs around New Year's time where we see Mimi needing a fix from her drug-dealer in order to cope. But after Mark provides a quick catch-up of everybody's situations on Valentine's Day, the tone of the show becomes more sombre when we learn that Angel's health issues, partly brought about by his flamboyance and his carefree attitude towards sex, have caught up to him, and he is about to succumb to HIV. This scene brings the friends together, and in the aftermath, we see the other relationships endure struggles of their own. The show comes full circle by concluding on Christmas Eve once again, but not before another major plot event involving Mimi which ensures one more struggle for the characters to work through. Incidentally, during the show-closing bow, Philippa Stefani seemed extremely emotional and overcome with the nature of Mimi's plight.

As mentioned, this is all told through music, meaning that many of the numbers (such as Rent, You Okay Honey and Take Me Or Leave Me) are conversational as opposed to "true" songs. And there are a lot of them; some, such as the Voice Mail scenes, are brief, but needless to say that there are a lot of songs written for this show. This is in part because the plot of Rent is loosely based on the opera show La Bohème (with HIV being the primary illness rather than tuberculosis; incidentally, La Bohème is coming to Liverpool Empire on Friday March 24), and of course operas use music - in a different style, of course - to tell a story and move it along. So, whilst the all-music approach within the rock genre is unorthodox and occasionally hard to understand, it does make sense when you consider the inspiration for the show.

The performances by the cast are excellent: it's hard enough to perform in a theatre setting for such a major production, but when the dialogue, physicality and music are moving at 100 miles an hour, so to speak, it must be incredibly difficult to learn all of the lines, all of the dances, all of the stage directions etc, so it's a real credit to all involved that everyone is utterly believable and is performing to a high standard. It's hard to pinpoint one cast member as shining brighter than the others, although I should give an extra mention to Lucie Jones for playing the OTT and rather sexual Maureen character; her performance of Hey Diddle Diddle as part of a one-woman show may be baffling to those who don't know the story of Rent, but it's pretty memorable nonetheless and is a perfect snapshot of Rent as a whole.

That's because Rent is, well, bizarre. The rock-music approach and bleak portrayal of American life reminded me of last year's American Idiot, but the over-the-top nature of everything, from the sexuality to the dancing to the lack of interest as to what society thinks of them, reminded me too of The Rocky Horror Picture Show. Unlike these two shows, though, the story is a lot harder to follow here, and it is way more unpredictable; it will be halfway through a typical rock number which may be explaining one of the story arcs, and out of nowhere it will suddenly break into a mass, almost chaotic, dance routine which is related to a different song altogether. The second half is more structured, but the almost depressing feel of the later scenes don't enhance the viewing experience, even if they are necessary to tell the story in the required manner.

Perhaps the best thing about Rent is its approach to homosexuality. At least four of the characters are gay - two males, two females - and many of the characters are HIV positive. This, of course, was at a time when the real dangers of unprotected sex and AIDS were only just coming into the forefront, so the carefree sexual activities will have come before people realised why such an approach to life wouldn't be the most advisable from a health standpoint. But it also came before homosexuality was truly accepted; when the lead characters are interacting with each other, it is not an issue, but when they happen to interact with other characters, such as the local priest, their homosexuality is met with scorn. These subjects were a sign of the times; the wild sexual freedom of the 1960s and 1970s had been a factor in the lives of the central characters, but they were now facing the harsh realities that they would pay the price with having shorter lives caused by developing AIDS and dying quickly afterwards (except Mark, who points out that he is likely to be the lone survivor since he is not HIV positive). And whilst homosexuality is certainly not a bad thing, there was still a negative stigma related to it at that time, which perhaps explains why the characters who are gay decide to rub it in society's face, so to speak; they embrace it, rather than hide from it. That all of this is explained in a manner which never denigrates the characters nor those who may have seen the show and are or were in the same position is a testament to the writing and to the performances by the cast. Of course, if this story were being told through 2017 eyes, the reactions by society would be very different, but this show emphasises what attitudes were like at that time. I did think, though, that due to the somewhat adult nature of the production, a disclaimer for people of a certain age beforehand may have helped, since certain scenes may be very difficult to explain to any kids who might have been in the crowd.

This is a very hard show for me to summarise. I guess the best way to describe it is that whether or not you enjoy Rent will depend on your personal tastes, not about the subject matters but about the way in which the story is told; all-music, at a breathtaking pace, with loads of sudden shifts and a frantic nature to dance moves and to the story in general. I feel that the performances were of a very high standard, and that the way in which AIDS and homosexuality are handled is superb. But I personally was not a fan of the general structure of the show; although it lasted 140 minutes, which was long enough, it could have benefitted from 5-10 minutes of quick, dialogue-only scenes between the longer musical numbers just to give the audience a chance to breathe and assess what exactly is going on.

Although I detailed parts of the story earlier on, this was with assistance; unless you knew about Rent beforehand, one could not have come to the same conclusions without thoroughly researching the show in its aftermath. It is also very Americanised in that you can tell this has been written to target the American audience; if it had been written for a British audience, I feel the structure would have been very different. This isn't a criticism (why wouldn't it target Americans?), but it's an observation that English folk attending this show should bear in mind. I mentioned earlier that a lot of students were on hand, and I feel it would be excellent for them should they be studying theatre or drama, since it's undoubtedly a tightly-written production which manages to raise laughs and elicit tears in equal amount.

Overall, though, Rent wasn't particularly to my tastes. The rating below is a mix of what I feel were outstanding productions and a storytelling approach which I felt was very hard to comprehend. It's not to say that Rent is a bad show at all, as its success over the course of two decades emphasises. I would suggest that those with a true liking for American-style productions, the 18-30 crowd and especially those who are interested in how AIDS and homosexuality affected American society in the 1980s will not only like this show, but that they should see this show. For older theatregoers, though, you may come away with more questions than answers, and possibly a headache too! Final analysis: an undoubtedly strong show with an excellent cast, but not a show that will be to everybody's tastes.

Overall Rating: 7/10 - Respectable

Thoroughly Modern Millie

Image Source: Sheet Music Plus

Written By: Mark Armstrong

Format: Musical
Genre: Comedy
Date: February 20 2017
Location: Liverpool Empire Theatre

Originally a 1967 movie which hit Broadway in musical form in 2002, Thoroughly Modern Millie is set in 1922 and tells the story of Millie Dillmount (Joanne Clifton), who comes to New York City with a dual goal: find a well-paying and well-respected job (bear in mind that this was a time when women were just starting to receive equal employment opportunities to men), and heading to the big city to find a suitable husband; although she tells her friends that she is going to marry her boss, regardless of who it is or where she finds him. To cover her time in NYC, she checks into the Hotel Priscilla but, unbeknownst to her or anybody else within her social circle, the hotel is run by Mrs Meers (Michelle Collins), who is also running a white slavery ring in Hong Kong, and uses the hotel as a way to find new workers.

Along the way, she manages to achieve her first aim by finding work in Sincere Trust and quickly decides that she wants to marry Trevor Graydon (Graham MacDuff), the manager of the big-business company. She also makes a new friend in Dorothy Brown (Katherine Glover), who checks into Hotel Priscilla and reaches a compromise with Millie for the two to share a room as well as the cost of rent. In the meantime, while Meers plots the next stages of her scheme alongside two shy laundry workers at the hotel (Ching Ho, played by Damian Buhagiar, and Bun Foo, played by Andy Yau), Millie keeps bumping into Jimmy Smith (Sam Barrett) - literally at first, by accidentally tripping him up in the street - who is seemingly an average New Yorker, but who soon makes it clear that he has feelings towards Millie. Things become complicated when the Millie-James romance becomes a love triangle of sorts, as well as the increasing influence of Mrs Meers, and the unexpected twists and turns which sees Trevor enter the romantic picture but, again, choosing another lady over Millie. The various plot strands come together for the conclusion, which wraps everything up in a logical and amusing fashion.

The show is heavily based around the music, with around 65% of the production comprising songs or dance routines. There is also a large portion of comedy, which starts a bit slow at first but gradually builds up; certainly, from a comedic perspective, the second half is superior to the first section. Going back to the music, the most notable numbers are Not For The Life Of Me, The Nuttycracker Suite, The Speed Test and, of course, Thoroughly Modern Millie. There's also a very unique version of Mammy as it is performed in Chinese, with the assistance of (occasionally hard-to-read) subtitles on a screen above the stage. The best vocal performance comes from Muzzy Van Hossmere (Jenny Fitzpatrick), who we don't see often during the show, but who nevertheless shines with a quite brilliant rendition of Only In New York towards the end of the first half.

It is Joanne Clifton as Millie Dillmount, though, who is the star of the show, as she carries the singing, dancing, acting and comedy throughout the entire thing, occasionally all during the same scene, and does so while very effectively playing the role of a likeable yet naive American girl from the early 20th century, a reflection of society at the time. The best compliment you can give someone for a theatre show is that they are totally believable in their leading role, and Joanne definitely achieves this as Millie. It's a show which is very much dependant on the performance of its main character, so it's reassuring that Joanne can pull it off, almost effortlessly at times. A close second is Graham MacDuff as Trevor Graydon, whose role in the first half is minor at best, but he comes alive in the second half with some great comic moments, particularly when he appears to have drunk himself senseless during an aborted date. Michelle Collins is the most recognisable member of the cast as Mrs Meers but, partly due to the nature of her character, it was hard to understand her lines at times, and on a slightly related subject, until the final quarter of the show, it was hard to see how her storyline truly meshed with the main plotlines involving Millie and co.

In other notes: the scenery was very good, from the realistic Sincere Trust office backdrop to the authentic room corridors in Hotel Priscilla to the semi-circular elevator within the hotel. The costumes were fine too, again mirroring American life during that time. I liked the subtle techniques used throughout the show, such as the simple yet very effective colourful lighting which adorned the curtains in purple and blue before the two halves commenced, as well as the quick photograph flashes from one of the spotlights during a police mug shot line-up scene (which delivered some nice physical comedy too). On the downside, the show ran a bit long (coming close to 2 3/4 hours), and the opening instrumentals for each half were also a bit overly long, with audience members ending up talking over them with the assumption that the show hadn't really started yet.

There's a true American feel to this show, which depending on your tastes may be a positive or a negative. Even though it's set in the States, and many years ago at that, one can tell that the musical numbers, the dialogue and the story as a whole are written from an American perspective, rather than, say, a British person trying to step into an American's shoes. There are times when the humour misfires somewhat, or when the songs don't seem suited to this particular target audience. As stated, though, this isn't necessarily a bad thing; if you are into the all-singing, all-dancing shows that epitomise American culture, this will actually be a positive, but if you're more used to the British way, so to speak, even if that means a British take on an American-based story, you may find that there are scenes which are of little interest to you.

Judging it on the whole, though, I would recommend Thoroughly Modern Millie. There are plenty of stand-out moments to be found, from some strong musical numbers to some very amusing physical comedy, and there are a number of high-quality performances from the likes of Joanne Clifton and Graham MacDuff. The tone as a whole is light-hearted, ensuring that you can just sit back and enjoy the show, as well as the occasional acts of madness by certain characters. Again, it's a show that I feel attracts a certain type of audience or, more to the point, may not be suited to those with particular tastes when it comes to theatre. Assuming that you'll come into this with an open mind and a willingness to absorb whatever transpires on stage, though, you'll enjoy it. And of course, if you've ever seen the film or even the original musical incarnation, you'll have a really good time watching this latest version.

Overall Rating: 8/10 - Very Good