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

Talented trio unite for an evening of musical magic at Epstein Theatre

Image Source: Epstein Theatre

Written By: Mark Armstrong

Provided By: Epstein Theatre

Three of Britain’s finest musicians and interpreters of songs and tunes will come together for an evening of magical music at The Epstein Theatre on Wednesday June 8 2016.

Martin Simpson, Andy Cutting and Nancy Kerr will unite for the joy of playing and exploring the possibilities of music together.

Each musician an acknowledged virtuoso in their own right, the talented trio have appeared together on stages in various combinations during recent years and have enjoyed it so much, they are coming back for more.

Nancy Kerr has been a major part of the acoustic music scene since she was a teenager and has always been a distinctive and impressive talent, turning heads everywhere she’s played or sung.

She is currently part of an award-winning duo with her husband, James Fagan, and is also one quarter of the Melrose Quartet and a key member of the Full English Band, both nominated for BBC Radio 2 Folks Awards in 2014.

Nancy has previously been nominated for the BBC radio 2 Folk Award for Best Original Song, acknowledging her superb song-writing skills. She is a multi-instrumentalist of rare and astonishing talent, as well as a beautiful and joyful singer. She is one of the shining stars in the British music firmament and is going from strength to strength with every new challenge she takes on.

Andy Cutting is an extraordinary musician. A master of the diatonic accordion and most other squeezeboxes, he is a superbly sensitive accompanist, a writer of beautiful and thrilling tunes, a highly in-demand band member and a sublime solo performer.

His list of recording credits and sessions reads like a Who’s Who of acoustic music both in the UK and abroad and he has played live with The Who, Roger Daltry and Sting, amongst others. His work in a duo with Chris Wood and as a member of the mighty Blowzabella, helped popularise French-Canadian and European music. Andy has toured extensively in the past with Martin Simpson, who always says that playing music with Andy Cutting is his favourite thing to do.

Martin Simpson is a multi-award winning musician, singer and songwriter who has worked with Bonnie Raitt, Richard Hawley and many more, as well as being a world-renowned performer in his own right. He was a notable virtuoso in his early teens and his partnership with June Tabor in the 70s and 80s brought him to the attention of a much wider audience and led to him being courted by the world of rock and roll, which he side-stepped.

Twenty years living in the UK and he has gone from strength to strength. He has often said that playing music with the likes of Andy and Nancy makes him a better player and in this trio he will mainly be playing guitars and banjos, singing and grinning from ear to ear.

The trio’s debut album Murmurs, which is currently available to purchase, was released on Topic Records on June 8 2015 to critical acclaim.

To book tickets, visit http://www.epsteinliverpool.co.uk/whats-on/martin-simpson-andy-cutting-and-nancy-kerr.aspx.

Thriller Live

Image Source: Thriller Live

Written By: Mark Armstrong

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

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

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

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

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

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

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

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

Dare I say that the show really was a Thriller?

Overall Rating: 8.5/10 - Excellent

Flavia Cacace: Last Tango a show for everyone to enjoy

Image Source: Burton Mail

Written By: Mark Armstrong

With more than 20 years of professional dancing experience, Flavia Cacace and Vincent Simone have become one of the most notable dancing couples, having starred in several theatre shows and Strictly Come Dancing for seven years beforehand. And their latest show Last Tango is about to foxtrot its way into the Liverpool Empire Theatre. To learn more about the show and their careers, we recently spoke to Flavia Cacace, who promises an eye-catching and emotional performance for the Liverpool audience.

Tell us about the Last Tango tour.

We're on the road at the moment, we're touring the UK, and Last Tango is our first big production. It's quite an emotional show, and all of our shows have a story to follow, so we take you on a journey with us. It’s the story of a man called George, who acts almost as an older Vincent (Simone). So basically we take you through his life, from the very first time he met his partner to all the things that happen in his life, all the way to the very end. There are ups and downs that I think people will relate to.

We've got a cast of eight other musical theatre dancers and singers who are amazing, and we have a main voice in Teddy Kempner who tells George’s story; he's been in all three of our productions. We also have an eight-piece orchestra who are incredible. And there are lots of different styles of dancing; we go from jive to foxtrot to Argentine tango, the salsa, the flamenco … there's a little bit of everything in there as well. So, there's a lot to see, accompanied by some fabulous music.

When did you and Vincent first begin dancing together?

We've danced together now for around 21 years, so it’s been a long time! We were 16 and 17 years old when we partnered up to compete.

When did you both first achieve fame for your dancing?

Well, we were very well-known in what we call the ballroom world. We started competing at a very young age, as we felt we could do very well, so we were already a bit well-known and we were very successful in our own right. Then once we got into television, obviously that’s when we became much more well-known in people's homes. Later on, a lot of other opportunities came along, and now we're touring the UK with our own show.

How were you discovered for Strictly Come Dancing?

We were studying the Argentine tango at a studio in Kensington (in London). The studio had a call from the BBC, who were producing Dance Fever at the time (Graham Norton was the presenter). They were looking for a tango couple to perform with one of the live music acts, so the people that spoke to them put our names forward and we met up with the BBC. We sent them a tape of us dancing, and in the end, we did several performances for Dance Fever over the course of four years with various different music acts.

And then one year, the last year that we did Dance Fever, the BBC producer came to us (she had recently become their new producer), and she told us that she was producing Strictly Come Dancing that year and asked us whether we would like to take part. We'd achieved pretty much everything that we'd wanted to in the world of competitive dancing, so we were ready to move on, and so that's how we got involved in Strictly.

Did you both enjoy Strictly during your time on the show (2006-2012)?

It was an amazing experience. It’s a fantastic show which is watched by millions, and we were very lucky and privileged to be a part of it, and to have been there when it was growing and becoming bigger and more popular. We have lots of great memories from those seven years on Strictly.

What has been your favourite routine to perform together?

Oh, gosh! It would be absolutely impossible to pick. We're often asked what our favourite dance is, and what routine is our favourite. We've been so lucky to be able to dance to so many amazing songs. When we were younger, we had a wish list of songs that we used to listen to, so for example we would practice choreographing to them. And now obviously with our shows, and the performances that we've done, we've been able to make that a reality. So, there are so many different numbers that we love in the show and in the past shows that it would be impossible to pick.

I think our favourite dance, or at least mine, is the Argentine tango. I love the tango music. Obviously, I love them all as I've done them for many, many years, but I think the tango has a special place for me.

What should the audience expect from Last Tango?

It's an emotional show, so come prepared! We've had many people who were a bit teary-eyed at the end of the show and during the show. It’s not just a show for dance fanatics, because there’s the main story to follow, we've got a beautiful set designed by Morgan Large who designed all of our other sets as well (for Dance ‘Til Dawn and Midnight Tango), and we've got amazing music (and it's a real variety of music). So, there's something for everybody; you don't have to be a pure dance fanatic to come and enjoy the show. And obviously we're in it; we've got an amazing cast, and we're thrilled at the fantastic response we're having on tour. We're really happy that people have enjoyed all three of our shows, because that's why we do them. So, we hope to see lots of people in Liverpool, as it's a great city and we're looking forward to coming again.

Last Tango plays the Liverpool Empire Theatre from Monday April 4 to Wednesday April 6. To book your tickets, click here.

For more information about Last Tango, visit www.thelasttangotour.co.uk.

Dominic North: "Sleeping Beauty is a great, great show"

Dominic North
(Image Source: Dancers Pro)

Written By: Mark Armstrong

We recently spoke to Dominic North, star of Matthew Bourne's production of Sleeping Beauty, about his role in the show, how it differs from the original fairy-tale version, and his own career to date ...

First of all, can you tell us about your role as Leo in Sleeping Beauty?

Leo is a love interest of Aurora, so I guess he's playing what would be the role of Prince Charming from the original. But he's more of a childhood sweetheart, like Catherine Earnshaw in Wuthering Heights, because he's a lonely gardener, and she's a regal princess.

What would you say are the main differences between this production of Sleeping Beauty and the original children's fairy-tale?

Well, compared to the Disney version, we go through a slightly different timeline. Our timeline starts in 1890 when the ballet was created, and then it's her 21st birthday in 1911, plus they're in Edwardian times for her 16th birthday. And then we have a hundred-year interval, so I have to find a way of being around to wake her up 100 years later. There's kind of a vampiric twist, without giving a spoiler away! And then our version goes up to the modern day, so the timeline is different. But if you know the story of Sleeping Beauty, you wouldn't realise that it's massively different; it's still about a princess who goes asleep and wakes up, and from there the main themes are exactly the same.

Share with us your background in dance.

In dance, I started when I was about 9 or 10 years old, just doing a couple of classes a week as a hobby, like modern jazz, that kind of thing. Then as I got older, I did more stuff like hip-hop and ballet. When I was 18, I went to a full-time school in London for three years and I didn't really know what I wanted to do; I just liked dancing! But I got a job coming out of it with Matthew Bourne's company, and now 12 years later, I'm in Liverpool talking to you! (laughs)

You also starred as Edward in Edward Scissorhands in 2015. What was that experience like?

It was amazing. It was an amazing role, a very iconic role, and you don't want to disappoint people who love the film. It was the first big role I did when I first performed it 8 years ago, so it was nice to go back to it. Having done other shows and other leading parts, to then go back to it and revisit it with a different set of cast members was good. And the show was actually better-received this time than it was before, for some reason, either because people saw it before and remembered it fondly, or there were some people who were new to being fans of the company, like within the last five years, and they had never seen it before, and then they really enjoyed this version. So, it was great to be a part of it again.

How have you found your time on Sleeping Beauty so far?

It's been great. It's the same kind of thing in that people haven't seen it or, if they have, there aren't many of them because it was only created a few years ago. And they've come back to it and said that the show is looking better with minor tweaks and changes. It's a great show to do, and it ticks all the boxes for me for a Matthew Bourne show: it has the story, there's humour, the emotion, the music - obviously a Tchaikovsky score is always great to work to - and the set and costumes are great too. Everything about it I think makes it a great, great show.

Finally, what are your future aspirations in both dance and theatre?

I don't really know! Just to keep doing what I'm doing, I think. I've been very lucky that I've managed to play amazing roles for this company around the world, so I hope to just continue doing that. And I revisit shows because I've started to enjoy doing that; if I play a part, I go back to it and invest even more in a character. So, yeah, I hope to just keep on doing what I'm doing.

Sleeping Beauty plays the Liverpool Empire from Tuesday February 16 to Saturday February 20. To book your tickets, click here.

For more information about Sleeping Beauty, visit http://new-adventures.net/sleeping-beauty.

Dean Elliott: Simon and Garfunkel story needs to be told

Dean Elliott (Image Source:
The Simon and
Garfunkel Story)

Written By: Mark Armstrong

The work of Paul Simon and Art Garfunkel created some unforgettable songs which remain favourites amongst an older generation to this very day. And a modern audience will receive the opportunity to appreciate these tunes and more in the brand new theatre show The Simon and Garfunkel Story, which comes to the Liverpool Empire Theatre this Friday.

We caught up with Dean Elliott, who will play a vital role both on the stage and behind the curtain for this show, on the significance of this show and why, in many ways, it is an ideal production for him to work on …

First of all, The Simon and Garfunkel Story comes to the Liverpool Empire Theatre this Friday. Tell us about the inspiration behind a show celebrating the music of Simon & Garfunkel.

I was playing Buddy Holly in Buddy: The Musical in the West End, and I was toying with the idea of doing a show similar to Buddy, which would be like a rock 'n' roll biopic. But I wanted to find something that hadn't been done before, a story that hadn't been told. So, I went to my CD collection, and I had all the CDs for Simon and Garfunkel, so I thought that (a show about these two) would be fascinating. And then a guy who I was sharing a dressing room with at the time said to me "I love their music, but didn't they fall out? What was their story?" Then it suddenly hit me; I thought "that's exactly why this is a show that needs to be made". Those were unanswered questions of rock 'n' roll history, so we aim to answer it with this show.

So, this is a show where you are both a performer and a key figure behind the scenes?

Yeah. I'm currently playing Paul Simon in the show, but I am also one of the writers on the creative team, which is exciting. I've only ever been able to do this a handful of times, and never on this level. Being part of the creative team - it's really exciting.

You mentioned your previous role as Buddy Holly; what else makes up your background in theatre?

Well, I trained at Paul McCartney's school LIPA in Liverpool, and lived in Liverpool for four years. And every year, the people of LIPA kind of migrate down the M6 towards London, so I spent many years trying out the craft down in London. Then, luckily, I landed the lead role of Buddy Holly in Buddy, which was a massive breakthrough for me obviously, and now I'm very fortunate to be in a position to create theatre of this quality.

I understand that you also perform as the lead singer and a guitarist in The Domino Band. Can you tell us more about this?

Yes. I don't do a great deal of that, sadly. I wish I did because it's a lot of fun. Because of the theatre shows, I am very busy. But generally how that works is that we're a wedding and functions band, and we play a variety of songs from throughout the years. It's great because we get to play the Beatles, we get to play the Rolling Stones, we get to play modern music, we get to play rock 'n' roll, we get to play funk, we get to play soul, we get to play jazz etc. And actually as a musician, it's nice to be able to test yourself with lots of different styles.

Can you tell us more about the rest of the cast in The Simon and Garfunkel Story?

Well, we've got four cast members who are West End actors or musicians, all of which are extraordinary characters in their own right, and playing the part of Art Garfunkel is Joe Sterling, who's just magnificent. Hearing him sing Bridge Over Troubled Water at the end of the show is worth the ticket price alone. It's just extraordinary.

And then we have what we call the sixth member of the team which is our video projector, which displays right onto the back wall. It goes through all the ages such as the sixties, it tells their story, and it tells the story of the sixties as well. It's a real trip down memory lane and a nostalgic look at the things that shaped the music of Simon and Garfunkel.

Are the cast looking forward to performing in Liverpool?

I think so, nobody more than me. It was always my dream to play the Liverpool Empire, and I did it with Buddy: The Musical in 2006. Now, I was like "Oh, I'd love to bring a show of mine to the Liverpool Empire", and that will happen on Friday. So, yes, I'm really excited about that. On a personal note, having lived there for so long, with Liverpool being my favourite city in the world, I'm just really excited about playing this show.

And finally, which is your personal favourite Simon and Garfunkel song?

I won't say that it's unknown because if you were a fan you'd know it, but it's called The Dangling Conversation. The reason why I think it's brilliant is because when you get to look through the body of work of Paul Simon like I have with a microscope, you get to really understand its significance. The story goes that Paul walked into the rehearsal room with Art Garfunkel and he said: "Art has written the masterpiece, the one that's gonna make us". It never was, and I have no idea why, but I just think that the song is a masterpiece. And it's definitely part of the show as I make sure of it! (laughs)

The Simon and Garfunkel Story plays the Liverpool Empire on Friday January 8. To book your tickets, click here.

For more information about The Simon and Garfunkel Story, visit www.thesimonandgarfunkelstory.com/.

Puttin' On The Ritz

Image Source: Puttin' On The Ritz

Written By: Mark Armstrong

Format: Musical
Genre: Musical
Date: October 7 2015
Location: Liverpool Empire Theatre

Back in the early days of cinema, motion pictures were a lot more simplified than they are nowadays. Even the use of audio was considered innovative back then, which perhaps partly explains why Hollywood exploded in the early 20th century when sound was added, and by the 1920s, films became even more popular with the influx of legendary and timeless music scores from Irving Berlin, George Gershwin and Cole Porter. They introduced new songs that had a familiar style to them, they were catchy, the lyrics were logical, and they were generally classic musical tunes and remain so to this very day. It also featured stellar singing and dancing, Fred Astaire being a perfect example of this. If anything, back in the day, the storyline of a movie often played second fiddle to the outstanding vocal skills and the visually superb dance routines.

And that's the formula which has been used for the theatre show which pays tribute to this Golden Age of Hollywood, Puttin' On The Ritz. There is no overriding plotline, or indeed any plotline, for this show. Instead, this puts a greater emphasis on the word "show"; although it takes place in a theatre setting, it is more appropriate to describe Puttin' On The Ritz as an extended tribute show, and it is a very enjoyable one at that. The production provides a variety of musical numbers complete with five-star dance efforts, all based on the song-writing of the aforementioned Berlin, Gershwin and Porter, along with a slightly updated feel to the singing of said tunes and a very contemporary twist to the dance routines.

The singing was varied and covered plenty of well-known tracks for the era, such as Let's Face The Music and Dance, Minnie The Moocher and, of course, Puttin' On The Ritz itself. Both males and females shone in this role, and the tones were at times quiet and dulcet, and at other times loud and high-pitched (some may say too high-pitched on occasions).

Each city being visited by the production includes a special guest singer for some of the more well-known hits, and the Liverpool show was no exception. Ray Quinn of The X-Factor and Dancing On Ice was the big name for the Liverpool Empire leg of the tour, performing such songs as Mack The Knife and Mr. Bo Jangles, with his best rendition of the night coming when performing Portrait Of My Love. Another nice touch in my opinion was the use of short comedy clips from the time, particularly those starring Laurel and Hardy, which were shown during intermission and were a logical and entertaining way to prepare the audience for the second half. The costumes were authentic for the time periods, with frequent changes adding a fresh layer to each performance.

But the highlight of Puttin' On The Ritz came in the form of the extravagant and perfectly-executed dance routines. The main dancers have previously had a wealth of first-class experience on Strictly Come Dancing, and it showed here as Trent Whiddan, teaming with Gordana Frandosek, and Robin Windsor (whose pre-show interview you can read by clicking here), partnering with Anya Garnis, both displayed a large number of superb and flashy dance manoeuvres. Oftentimes, their dances managed to overshadow the singing, which is no mean feat in an environment where the music is generally judged first. Although those with Strictly experience were the stars of the show, it's also worth noting that a crop of lesser-known dancers also delivered on the night, particularly with a simple-yet-visually impressive routine near the end of the show where almost a dozen dancers sat on the edge of the stage and delivered a thigh-slapping and hand-clapping sequence (the Maple Leaf Rag) which, at its climax, had the audience on its feet in applause.

Puttin' On The Ritz is definitely a show which will appeal to the older demographic. Not only will the songs be familiar and the dances be acceptable to that age range, but the emphasis on singing and dancing will not be unusual to people with vivid memories of a bygone era of Hollywood. Puttin' On The Ritz provides a fine night of feel-good entertainment, which should revive fond memories for the older audience and perhaps open eyes to a different (and many would say better) style of music and dance to a newer crowd.

Overall Rating: 7.5/10 - Good

Robin Windsor Bringing Glitz To Puttin' On The Ritz

Image Source: Sunday Express

Written By: Mark Armstrong

Provided By: Liverpool Empire Theatre

Mark Armstrong recently grabbed a quick word with Robin Windsor ahead of his role as a lead dancer in Puttin’ On The Ritz, which is about to take the Liverpool Empire Theatre back to the Golden Age of Hollywood …

To begin with, can you briefly tell us the story behind Puttin' On The Ritz?

There's no exact plot for Puttin' On The Ritz. It's a song-and-dance extravaganza, so it's taking everybody back to the 1920s and 1930s, that Golden Age of Hollywood, with the music by Cole Porter, Irvin Berlin and George Gershwin. These are timeless songs that will never, ever be forgotten. So, it's just a succession of dance numbers and songs, taking everybody back to that wonderful era.

What role will you be playing in this show?

Well, when it comes to the dancing, there's myself and Anya Garnis, who I'm dancing with; Trent Whiddan who danced with Pixie Lott last year; and then of course there'll be your very own Ray Quinn. And we're all invited as very special guests; the show has already been created, so we just slot into that show at all the appropriate times, so we make appearances all the way through.

Tell us about how your dancing career evolved, and ultimately how you made it to Strictly Come Dancing.

I grew up as a ballroom dancer in a competitive world from the age of 3. I began in my hometown, which is Ipswich, and I continued competing up to the age of 19. Then, I joined a dance show called Burn The Floor, for which I ended up doing a world tour for 9 ½ years. We became the first ever ballroom show to end up on Broadway, and after that we headed straight to the West End in London. And, from there, I was picked to do Strictly. I wasn't your typical-looking ballroom dancer; I have a shaved head and a beard and I was a bit muscly at the time. So, they picked me for Strictly because I was different and I brought something different to the table, so that's kind of how it all happened.

What were the highlights of your time on Strictly?

For me, every moment you get to step on the set is absolutely brilliant, but I think my favourite moment would be dancing with Lisa Riley. The moment that she jumped into the splits at Wembley, where there were 6,500 people that night – the reaction was just like that of a rock concert! We both felt like Beyoncé for a moment; it was absolutely brilliant.

Which other productions have you been involved in over the last few years?

In recent times, I've done an awful lot of other stuff for Strictly Come Dancing: I've done the Strictly Come Dancing cruises, and I've done a tour of a show called Dancing With Music which was just myself, Kristina (Rhianoff) and the winners at the time, Artem (Chigvintsev) and Kara (Tointon). But I’m excited about the current show, Puttin' On The Ritz: it will be the first time that I'll be performing at the Liverpool Empire. I've been there lots of times to watch a show, and I can't wait to actually perform in such a big theatre and on a big stage.

Finally, which song in Puttin' On The Ritz will see you deliver a dance performance for the audience to remember?

Well, the show's called Puttin' On The Ritz, the most famous song from that time is called Puttin' On The Ritz, and the best dance routine that will be put together for the show is for Puttin' On The Ritz, so that's the one that you've got to keep your eyes peeled for!

Puttin’ On The Ritz plays the Liverpool Empire from Tuesday October 6 to Saturday October 10. To book your tickets, click here.

For more information about Puttin’ On The Ritz, visit www.puttinontheritztour.com.

Joe to play Joseph: X Factor champ dons coat of many colours at St Helens Theatre Royal

Joe McElderry

Written By: Mark Armstrong

Provided By: St Helens Theatre Royal

X Factor winner Joe McElderry will put on the dazzling coat of many colours as he steps into the title role of the UK’s longest-running musical Joseph and The Amazing Technicolor Dreamcoat at St Helens Theatre Royal in February 2016.

Joe was just 18 when he won the sixth series of The X Factor having been mentored by Girls Aloud star Cheryl Fernandez-Versini and beating off fierce competition from Olly Murs and Stacey Solomon.

He then soared to number one on the UK Singles Charts with his rendition of Miley Cyrus’s The Climb and his debut album Wide Awake went straight in at number three on the UK Albums Chart. He has since gone on to have two more top ten albums, and he became the first X Factor star to release four albums, with a fifth in the making.

Joe, who hails from South Shields, Tyne and Wear, is also the first and only celebrity to win three reality TV shows! He was crowned the winner of the second series of ITV’s Popstar to Operastar before strapping on his skis and slaloming his way to become champion of Channel 4’s celebrity ski competition The Jump last year!

Joseph marks Joe’s first major theatrical appearance following a one-off West End gala performance as the lead in The Who's Tommy in 2012.

Having garnered sensational reviews and standing ovations at every performance since its inception almost 35 years ago, Bill Kenwright’s Amazing’, ‘Superb’, ‘Wonderful’ and ‘Brilliant’ production of this sparkling family musical has now sold an estimated 20 million tickets.

This vibrant and exciting retelling of the biblical story about Joseph, his eleven brothers and the coat of many colours sings out to young and old alike with a score which is crammed wall to wall with hits, including Jacob and Sons, Close Every Door and Any Dream Will Do.

The show is presented by Bill Kenwright by special arrangement with the Really Useful Group – lyrics by Tim Rice and music by Andrew Lloyd Webber.

Chantelle Nolan, manager of St Helens Theatre Royal, commented: “Following the success of Blood Brothers, we are absolutely thrilled to present Joseph and the Amazing Technicolor Dreamcoat and are sure Joe McElderry will be perfect for the role of Joseph.”

For more information, please visit www.sthelenstheatreroyal.com.

Puttin' On The Ritz coming to Liverpool

Written By: Mark Armstrong

Provided By: Liverpool Empire Theatre

Strictly Come Dancing stars lead the UK tour of the hit song and dance extravaganza

Presented by International Theatre Producer David King, the tour of the spectacular Puttin' On The Ritz is currently wowing audiences across the UK.

Puttin' On The Ritz stars a variety of professional “Strictly” dancers at different venues, including Robin Windsor and Anya Garnis with Trent Whiddan and Gordana Frandosek.

Ray Quinn will join Puttin' On The Ritz in September. Runner-up in The X- Factor in 2006, with his debut album going straight to number one in the UK charts, Ray has starred in many West End musicals.

Puttin' On The Ritz takes you on a musical journey with wonderful music from three legendary composers, Cole Porter, George Gershwin and Irving Berlin. Songs in the show will include Cheek to Cheek, Alexander’s Rag Time Band, Birth of the Blues, Swanee, Night and Day, I Got Rhythm, Easter Parade, and Puttin’ On The Ritz.

These classic songs of the Golden Age of Hollywood are recreated live on stage with a star-studded cast of fabulous singers and dancers who are set to entertain the audience with their slick harmonies, glamorous costumes and ballroom dancing skills.

Puttin’ On The Ritz is produced by David King with music and lyrics by Irving Berlin, Cole Porter and George Gershwin.

Becky O’Brien performed in her first professional production at the age of seven. Becky toured America, Asia, Europe and the UK, as the lead vocalist in shows such as Spirit of the Dance; Broadway, the Star Spangled Celebration; and The Spirit of Christmas. Alongside two of her sisters, she took on the role of The Deering Sisters in the internationally acclaimed Pathe feature film, Mrs Henderson Presents. The sister act worked alongside Dame Judi Dench and Bob Hoskins, recording the theme song for the film.

Ray Quinn’s first acting role was in Brookside, the popular soap based in Liverpool. He was announced as the runner-up in the X Factor to Leona Lewis in 2006 and subsequently released a a debut album which went to number in one in the UK charts and eventually became a platinum selling album. Ray has starred in many West End musicals including Grease, Dirty Dancing, The Rise and Fall of Little Voice and Legally Blonde. Ray was the winner of ITV’s Dancing on Ice in 2009 and went on to win the final All Stars series in 2014. Ray is currently recording an album and is inspired by by the “greats”, Frank Sinatra, Dean Martin and the Rat Pack.

Robin Windsor is a British professional Latin and Ballroom dancer, best known for his appearances in the BBC television series Strictly Come Dancing. Robin is also known for starring in the successful West End production of Burn The Floor with his professional partner Kristina Rihanoff.

Trent Whiddon is an award-winning Australian dancer and choreographer. He was a lead dancer and company manager of Burn the Floor for 13 years including the Broadway production. He has choreographed for So You Think You Can Dance, Satisfaction on a Dance Floor and the E-trade commercial with Kevin Spacey. Most recently, Trent has completed touring with the Strictly Live tour after a successful first season on Strictly Come Dancing partnering Pixie Lott.

For more information, visit www.puttinontheritztour.com.

Danielle bringing Hope to The Sound Of Music

Image Source:
Manchester Evening News

Written By: Mark Armstrong

Provided By: Liverpool Empire Theatre

The Sound Of Music, one of the most legendary musicals of all-time, is returning to the Liverpool Empire next month. Playing the role of Maria Von Trapp will be Danielle Hope, who over the last five years has had a range of unforgettable experiences on the theatre stage, having been propelled to stardom by a television show which landed her a role as Dorothy in The Wizard Of Oz and a place in future big-budget theatre productions. I recently spoke to Danielle about The Sound Of Music, her experiences so far in theatre, and whether she could handle a family as big as that of the Von Trapps in real life …

To begin with, explain the story of The Sound Of Music, and of your role as Maria Von Trapp.

The Sound Of Music, as many, many people will know, is a very famous story based on a family that were fleeing Austria at a very dangerous time. I think the reason a lot of people feel this strongly connected to The Sound Of Music is because they were real people, and this was a very real time in the world. Now, a young girl who is training to be a nun is sent away because of, let’s say, her behaviour, and her choice of life and singing. Then, she meets this very disconnected family where the father is going through a lot, and the children have almost been army drilled because he's a naval officer. And she introduces them to music, and then they find a connection, which ends up inspiring the captain and saving them at the end of the day while they flee.

I think people of all ages connect to this story because they've grown up with it; I grew up with the film with my grandmother. That being said, the stage show is different to the film in an exciting way, plus it's the 50th anniversary of the film at the moment so we've had really, really great audiences. We've been on tour since January, and it's amazing to be trusted with the role of Maria. I know they're very specific about who they get to play her, and it's been a real challenge and a real joy to share her story around the country. We're in Dublin, Ireland right now, and we've already been around the UK and Scotland and, well, everywhere! I'm looking forward to being in Liverpool and getting up north because that's home turf to me, and all the family are coming to see me in Liverpool too. So, it's been great so far.

You touched upon the film version of The Sound Of Music. What, from a production and viewing standpoint, are the key differences between the movie and theatre versions?

There's different songs, there's extra songs, so all the ones you love from the film are in the show as well as some more. The order of things is slightly different, because as we all know, something that works on-screen doesn't necessarily work on stage in the exact same way, and vice versa. So, it's adapted for the theatre, and it's just so beautiful. The set is so classy and so elegant, and it's going to look beautiful at the Empire, it really is.

Tell us about how you first made your name on the BBC show Over The Rainbow.

It was five years ago now, which I can't believe! I auditioned for the television programme for Andrew Lloyd-Webber; 9,000 people auditioned, and the programme was three months long, and I was lucky enough to win the part and went on to play Dorothy at the London Palladium alongside Michael Crawford, which was just epic really! I think it's the only word for it! I mean, who starts their career headlining the London Palladium? It was bonkers!

It's been amazing since then, and I've worked with so many people that I have admired in the theatre industry for such a long, long time. But, yeah, the programme was a very crazy experience, and I moved to London so quickly. My plan was to go to University which I didn’t do, so everything I had planned didn't happen, but the outcome still happened, which I think proves that there's no right or wrong way to do anything. You just have to take a chance sometimes and just be brave, which is what I did and I’m so grateful that I did. So it was a crazy time and I've since been in shows like Les Miserables and Joseph and The Amazing Technicolour Dreamcoat, so it's been a really wonderful and crazy five years!

As discussed, your victory on Over The Rainbow earned you your first theatre role as Dorothy in The Wizard Of Oz in 2011. Tell us about how you fared in this starring role, and how quickly did you take to the stage?

We opened for previews in January/February time, so we rehearsed over Christmas and New Year, and it was so exciting, plus I had such a supportive cast around me. You know, I'd always wanted to be on stage; it wasn't like I randomly turned up to an audition, and I was like "Oh, I'll have a go at this!" It was something that I'd always wanted to do, and that's what I was training to do at high school and sixth form.

Actually, the first time that I ever performed was on the Palladium stage was for the Children In Need live broadcast with Terry Wogan. I sang Over The Rainbow, and the theatre was full, plus (in addition to TV) it was being broadcast online and on the radio, so in effect all three mediums, which was so crazy. I remember that was one of the most nerve-wracking things I ever got to do, but it was nice having already performed once on the stage. And the Palladium is one of the most beautiful theatres that I've had the pleasure of being in, so I just absolutely loved it.

For The Wizard Of Oz,I was there for a whole year, and you just grew in the part over the year because you get to do the same show eight times a week, and you find new things constantly. I think that's why I love live theatre and why a lot of people love live theatre. I mean, it's great to be able to press Fast-Forward on your Sky box or whatever, but when you go and watch a show, what is happening in front of your eyes can't be paused or rewound, it can't be redone, and even if we try and recreate things, we can't because we're human, so it's always going to be different. I think that's why it's so attractive and appealing, because you're really part of something unique and special every time you go to the theatre.

As you mentioned, your other theatre credits over the last few years have included Les Miserables, Snow White and The Seven Dwarfs and Joseph and The Amazing Technicolour Dreamcoat. What were your memories of those productions?

Well, Les Miserables was straight after The Wizard Of Oz, and it was incredible. It was a very different role, one of an aggressive, torn young girl from the streets. It was amazing to be able to play something so different straight after doing Dorothy, and I loved it, plus I made some of my best friends on that show. I think it was nice to have the responsibility of such famous songs, but Jean Valjean was leading the show, so I felt like the pressure was off a little bit in comparison to Dorothy. But I still had enough responsibility to drive me and feel like I was a real core part of that show. Plus, the film came out when we were in it, and I got to go to the premiere, so it was a very cool time to be a part of Les Miserables that year.

Joseph and The Amazing Technicolour Dreamcoat was my first tour. I started The Sound Of Music two weeks after I finished Joseph, so it's been a bit of a crazy year being on the road. Again, Joseph was so different, and it was very cool to see some parts of the world that I'd never seen.

Snow White was my first panto, and it was hilarious. The cast included Gok Wan, John Partridge (who judged on Over The Rainbow), Stephanie Beecham, Gary Wilmott … the names were endless, and we had such a good time at Birmingham. It ended up being one of their biggest pantos, so that was exciting.

I also did a show called The Last Five Years which has just got two people in it, and you only actually get to interact for about 30 seconds in the whole show! So, it's like doing a one-woman and a one-man show, and that was one of the most creatively challenging things I have done so far in my career. It was something that I've wanted to do for a long time, as well as something that terrified me every single night, but it also gave me the confidence to do my own solo cabaret in London, which I then took to New York and recorded my debut album of that. I released my album in June of this year, which is a live recording of my New York concert which I did in February. So, there's been lots of things that I've been able to do and that I've worked towards that I've just never thought would happen, not within these few years anyway.

Do you feel a certain level of pressure as you take the famous role of Maria Von Trapp in The Sound Of Music?

Of course. With a show like this, as with the Wizard Of Oz, there comes a huge responsibility, but I think you have to just acknowledge that and just release it. This role and the story and the characters are so well-loved. But I'm not here to imitate Julie Andrews, nor was I there to imitate Judy Garland. I'm just here to tell this story in the best, most honest and truthful way that I possibly can, and to just have a really joyous time doing it. The cast are wonderful, the children that I get to work with are just marvellous, and we have such a good time, and such a lovely connection and bond throughout the show. So, I acknowledge the responsibility and the pressure, but I love it. Also, getting to be blonde is very cool; I have very, very long dark hair, so getting it under that tiny little wig is an event! (Laughs)

The last question is, in The Sound Of Music, the Von Trapp family have a lot of children. Do you think in real life you could cope with that many kids?

(Laughs) Oh, I know there's a lot of children! I don't know. I think if they were all my brothers and sisters and or nieces and nephews, absolutely, because that's what they feel like. I feel like I've adopted them while they're on stage, and if they were all as charming and as lovely as these children are, absolutely I could handle it! Yeah, I would be blessed to have children like the ones in this show; they really are little beauties!

The Sound Of Music plays the Liverpool Empire from Monday September 14 to Saturday September 19. To book your tickets, click here.

You can find out more about Danielle Hope at www.daniellehope.co.uk.

Full casting announced for Priscilla: Queen Of The Desert

Written By: Mark Armstrong

Provided By: Liverpool Empire Theatre

David Ian Productions and the Ambassador Theatre Group are delighted to announce the full cast for the UK tour of the international smash-hit musical Priscilla: Queen Of The Desert, which plays at the Liverpool Empire from Monday January 25 to Saturday January 30 2016.

Joining the previously announced Jason Donovan, who reprises the role of Tick, are Simon Green as Bernadette, Adam Bailey as Felicia and Philip Childs as Bob.

Simon Green’s most recent stage credits include Bruce Ismay in Titanic, both in Toronto and at the Southwark Playhouse; The World Goes Round at the Union Theatre and Monsieur André in The Phantom Of The Opera on tour. Adam Bailey most recently appeared as Espresso in the German production of Starlight Express. His other theatre credits include Mary Sunshine in Chicago at Leicester Curve and Alan in Bare at the Greenwich Theatre. Philip Childs played the role of Bob on the 2013 tour of Priscilla: Queen Of The Desert. He is currently appearing as Doctor Dillamond in Wicked at the Apollo Victoria. Other recent theatre credits include Alan Bennett’s People and The Habit Of Art at the National Theatre.

Jason Donovan played the role of Tick when the show originally opened in the West End and its subsequent tour in 2013. His other West End credits include the title role in Joseph and The Amazing Technicolor Dreamcoat and Caractacus Potts in Chitty Chitty Bang Bang. His touring credits include Captain Von Trapp in The Sound Of Music and Frank N Furter in The Rocky Horror Show and most recently Lionel Logue in The King’s Speech. His television credits include Neighbours and Echo Beach. He was also a finalist in ITV’s smash-hit I’m A Celebrity Get Me Out Of Here! and reached the final of Strictly Come Dancing.

They are joined by Richard Astbury; Rebecca Botterill; Matt Crandon; Peter Cumins; Amy Di Bartolomeo; Martin Harding; Lisa-Marie Holmes; Ricky Lee Loftus; Adam Lyons; Callum MacDonald; Laura Mansell; Catherine Mort; James Paul McAllister; Robin Mills; Craig Ryder; Naomi Slights and Julie Yammanee.

Get ready for the ride of your life! Based on the movie, Priscilla: Queen Of The Desert - The Musical is the heart-warming, uplifting adventure of three friends who hop aboard a battered old bus searching for love and friendship and end up finding more than they could have ever dreamed of. With a dazzling array of outrageous costumes and a hit parade of dancefloor classics including I Will Survive, Say A Little Prayer, Go West, Hot Stuff, Boogie Wonderland and Always On My Mind, this wildly fresh and funny new musical is a journey to the heart of FABULOUS!

Priscilla: Queen Of The Desert - The Musical originally opened in Australia and after a sell-out two year run, opened in London’s West End followed by Broadway in the United States. It has won numerous awards all over the world, including prestigious Olivier and Tony awards.

Priscilla: Queen Of The Desert - The Musical is written by Stephan Elliott and Allan Scott and Directed by Simon Phillips. The Associate Director is Dean Bryant. Choreography is by Andrew Hallsworth and Ross Coleman; Musical Arrangements, Direction and Supervision by Stephen ‘Spud’ Murphy and Charlie Hull; Production Design by Brian Thomson, Costume Design by Tim Chappel and Lizzy Gardiner; Make-Up Design by Cassie Hanlon; Original Lighting Designs by Nick Schlieper and Original Sound Design by Michael Waters.

Just one month until the brand new production of The Sound Of Music opens at the Empire

Written By: Mark Armstrong

Provided By: Liverpool Empire Theatre

From Oz to Austria, a Palladium star brings the hills alive in The Sound Of Music

One of the greatest musicals of all-time returns to the stage in a magnificent new production which plays at the Liverpool Empire from Monday September 14-Saturday September 19 as part of a major national tour.

Playing the iconic role of Maria von Trapp is Danielle Hope, who captured the hearts of the country when she won BBC Television’s Over the Rainbow and made her professional debut as Dorothy in The Wizard of Oz at the London Palladium. Danielle has since played Eponine in Les Misérables in London’s West End and Narrator in Joseph and the Amazing Technicolor Dreamcoat.

Joining the company as Captain von Trapp is much-loved stage and television star Steven Houghton. Well-known for his longstanding television role in London’s Burning, Olivier-Award nominated actor Steven has taken on leading roles in Spend Spend Spend, Blood Brothers, White Christmas, Martin Guerre and Grease and had a Top Ten hit with ‘Wind Beneath My Wings’.

Produced by Bill Kenwright, directed by Martin Connor, choreographed by Olivier Award winner Bill Deamer, and with musical direction by David Steadman, this wonderfully lavish new staging of the classic musical coincides with the 50th anniversary of the film version, the most successful movie musical in history.

It all began with the story of the Trapp Family Singers and Baroness Maria von Trapp’s 1949 autobiography, which inspired Richard Rodgers, Oscar Hammerstein II, Howard Lindsay and Russel Crouse to create a Broadway musical in 1959. The Sound of Music tells the true story of the world-famous singing family, from their romantic beginnings and search for happiness, to their thrilling escape to freedom as their beloved Austria becomes part of the Third Reich at the start of WWII.

The unforgettable score features some of the most memorable songs ever performed on stage, including Edelweiss, My Favorite Things, Do-Re-Mi, Climb Ev’ry Mountain, So Long, Farewell and, of course, the title song The Sound Of Music.

Joining Danielle and Steven are West End stars Jan Hartley (The Phantom of the Opera and West Side Story) as Mother Abbess, and Emma Clifford as Baroness Elsa Schrader, with Howard Samuels as Max, Grace Chapman as Liesl and Luke George as Rolf.

Completing the cast are Lynden Edwards, Philip Day, Zoe Ann Bown, Kate Milner Evans, Martin Dickinson, Lewis Barnshaw, Colin Burnicle, Jessica Daley, Grace Gardner and Katie Shearman.

Sister Act coming to the Liverpool Empire in Autumn 2016

Written By: Mark Armstrong

Provided By: Liverpool Empire Theatre

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

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

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

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

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

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

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

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

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

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

David Hasselhoff to tour in a brand new musical

Written By: Mark Armstrong

Provided By: Liverpool Empire Theatre

The iconic David Hasselhoff is to tour more than 20 theatres and arenas across the UK with the brand new musical Last Night A DJ Saved My Life.

The explosive new production opens with a world premiere at the Blackpool Opera House on October 16 2015 ahead of a major UK tour which will see The Hoff play 68 nights at more than 20 venues over a 13-week tour between October 2015 and February 2016.

The Hoff plays Ross, a hilarious hedonist. He’s Ibiza’s top 80s DJ who doesn’t realise a new decade has dawned, disco is out, and that the club scene is in.

He tries to keep up with the times...with Mandy, his new younger girlfriend (Kim Tiddy, from The Bill and Hollyoaks), but matters are complicated when his teenage daughter Penny (Stephanie Webber from The Voice) arrives to stay. Father and daughter haven’t seen each other for three years, since a messy divorce. No longer a demure school girl, but a wild child who quickly falls for Rik, the holiday rep (Shane Richie Jnr).

It’s the story of two generations colliding, as a badly behaved parent tries to control a wild child teenager! This hilarious hit-fest is also a touching father and daughter drama set against a background of sun, sea, sex, drugs and hits that take us back to the 80s and 90s when we wore denim overalls, girls had hair scrunchies and guys played Nintendo Game Boy. Think Mamma Mia on speed! Friends meets Ibiza Uncovered, with the soundtrack of our lives.

Last Night A DJ Saved My Life will play the Liverpool Empire Theatre from January 19-23 2016.

Jason Donovan to play Tick in Priscilla: Queen Of The Desert

Written By: Mark Armstrong

Provided By: Liverpool Empire Theatre

David Ian Productions and the Ambassador Theatre Group are delighted to announce that Jason Donovan will play the role of Tick in the UK tour of the international smash hit musical Priscilla: Queen Of The Desert, which plays at the Liverpool Empire from Monday January 25-Saturday January 30 2016.

Jason Donovan reprises the role of Tick, the part he played when the show originally opened in the West End and its subsequent tour in 2013. He has had a hugely successful and varied career as both an actor and world-wide recording artist, selling over 13 million albums to date. As well as Priscilla: Queen Of The Desert, his other West End credits include the title role in Joseph and the Amazing Technicolor Dreamcoat and Caractacus Potts in Chitty Chitty Bang Bang. His touring credits include Captain Von Trapp in The Sound Of Music, Frank N Furter in The Rocky Horror Show, the title role in John Doyle’s production of Stephen Sondheim’s Sweeney Todd and The Artilleryman in The War Of The Worlds. He can currently be seen as Lionel Logue in The King’s Speech. His television credits include Neighbours and Echo Beach. He was also a finalist in ITV’s smash hit I’m A Celebrity Get Me Out Of Here! and reached the final of Strictly Come Dancing.

Get ready for the ride of your life! Based on the movie, Priscilla: Queen Of The Desert - The Musical is the heart-warming, uplifting adventure of three friends who hop aboard a battered old bus searching for love and friendship and end up finding more than they could have ever dreamed of. With a dazzling array of outrageous costumes and a hit parade of dance-floor favourites including It’s Raining Men, Say A Little Prayer, Go West, Hot Stuff and Always On My Mind, this wildly fresh and funny new musical is a journey to the heart of Fabulous!

Priscilla: Queen Of The Desert - The Musical originally opened in Australia and after a sell-out two year run, opened in London’s West End followed by Broadway in the United States. It has won numerous awards all over the world, including prestigious Olivier and Tony awards.

For further details, visit www.priscillathemusical.com.