Theatre Review: The Band, Empire Theatre, Liverpool

Image Source: ATG

Written By: Mark Armstrong

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

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

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

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

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

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

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

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

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

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

Overall Rating: 7.5/10 - Good

Theatre Review: Jersey Boys, Empire Theatre, Liverpool

Image Source:
Brinkhoff & M+Âgenburg

Written By: Mark Armstrong

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

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

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

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

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

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

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

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

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

Overall Rating: 9.5/10 - Classic

Pantomime Review: Cinderella, Empire Theatre, Liverpool

Image Source: Mark McNulty

Written By: Mark Armstrong

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

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

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

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

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

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

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

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

Overall Rating: 8/10 - Very Good

Pantomime Review: Aladdin, Echo Arena Auditorium, Liverpool

Image Source:
Echo Arena Auditorium

Written By: Mark Armstrong

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

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

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

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

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

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

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

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

Overall Rating: 8/10 - Very Good

Pantomime Review: Peter Pan, Epstein Theatre, Liverpool

Image Source: Epstein Theatre

Written By: Mark Armstrong

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

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

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

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

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

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

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

Overall Rating: 9/10 - Outstanding

Theatre Review: Crazy For You - Empire Theatre, Liverpool

Image Source: ATG

Written By: Mark Armstrong

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

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

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

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

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

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

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

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

Overall Rating: 8/10 - Very Good

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

Image Source: Made Up

Written By: Mark Armstrong

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

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

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

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

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

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

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

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

Overall Rating: 8/10 - Very Good

Theatre Review: War Horse - Liverpool Empire Theatre, Liverpool

Image Source: ATG

Written By: Mark Armstrong

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

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

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

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

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

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

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

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

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

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

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

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

Overall Rating: 9/10 - Outstanding

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

Image Source: ATG

Written By: Mark Armstrong

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

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

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

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

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

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

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

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

Overall Rating: 8.5/10 - Excellent

Theatre Review: The Wizard Of Oz - Epstein Theatre, Liverpool

Image Source: Bill Elms

Written By: Mark Armstrong

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

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

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

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

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

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

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

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

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

Overall Rating: 8/10 - Very Good

Theatre Review: Man To Man - Everyman Theatre, Liverpool

Image Source: Everyman Theatre

Written By: Scott Gunnion

Format: Play
Genre: Drama
Date: October 25 2017
Location: Everyman Theatre, Liverpool

Man to Man is a one-woman-show that unites gender bending with Nazi Germany, complete with inexplicable and deeply misplaced Scottish accents. Seriously. That might sound like a brilliantly bonkers combination, but let’s not get ahead of ourselves.

This is the tale of a woman who adopts her husband’s identity after he dies in order to step into his shoes in the workplace and survive Nazi Germany. But the plot doesn’t really stand up to scrutiny; as if nobody in her husband’s workplace is going to notice his newly-feminine curves and edges, the lack of Adam’s apple or five o’clock shadow.

Even Maggie Bain, protagonist Ella’s, best Groundskeeper Willie impression still manages sounds like an unmistakably female Glaswegian trade unionist or a female character from Rab C. Nesbitt, and that’s not to detract from the talent of the one-woman in question.

Maggie Bain puts in an excellently charismatic performance, complete with the previously referred to unexplained Scottish accent. At times, the impact of the performance was really powerful. You come away from it with a sense of having delved deep into the psyche of a mind walking the plank between sanity and insanity.

But the play fails to address the stresses and hardships faced by people who identity as transgender; the protagonist never does identify as transgender, though for all intents and purposes she might as well be. There is a real sense of claustrophobic and isolation that permeates throughout this production courtesy of the minimalist set comprised of single bed and armchair.

Apparently, the play is to translate to New York; that seems a rather undeserved milestone to have accomplished with this dry and lacklustre production. This is a production that hinges heart and soul on the heavy shoulders of the sole performer.

Bain’s is an excellent performance that resuscitates and breathes life into a stale and uninspiring script, a script which says nothing new and has nothing new or interesting to say in respect of an already widely dramatized era in history. It elevates the play from below average to just plain average.

I was bored senseless throughout. Unless you were an enemy of mine, I wouldn’t recommend it.

Overall Rating: 3/10 - Flawed

Theatre Review: Golem - Playhouse Theatre, Liverpool

Image Source:
Wirral Globe

Written By: Scott Gunnion

Format: Play
Genre: Comedy
Date: October 18 2017
Location: Playhouse Theatre, Liverpool

I started off my usual cynical self. After all, dystopian has been done to death. I was expecting the-pseudo Hunger Games on stage. 1984 revisited. But I quickly learned to abandon my prejudices and came to love what was on offer.

Let there be no doubt: Golem is utterly bonkers. It is cracked. Truly nuts. 1927, the theatre company responsible for the production, has achieved something truly tremendous.

We start out in a dystopian age (the exact era is not specified) in which the protagonist Robert feigns limp rebellion by participating in the garage band Annie and The Underdogs, whose contribution to music merely amounts to noise and vacuous hand gestures.

Out of intrigue, he purchases a Golem from a fledgling wheeler-dealer, Golem being an animated clay playmate who obeys your every order. Or so it seems.

Golem starts out as a dutiful, docile being. Blindly compliant. Obedient to its owner. But it soon acquires a mind of its own and becomes the dominant partner in the relationship, dishing out orders and suggestions. Taking over every task and emasculating those around it by rendering their contribution to the community obsolete.

The set design is truly astonishing. The graphics are incredible; set design on ketamine. And the way the actors interact with the constantly evolving set is brilliant.

I would recommend Golem to anybody with an open mind. And at a tight 90 minutes, it manages to be short and concise, never outstaying its welcome.

Overall Rating: 8.5/10 - Excellent

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

Image Source:
St. Helens Theatre Royal

Written By: Mark Armstrong

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

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

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

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

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

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

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

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

Overall Rating: 8/10 - Very Good

Theatre 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: Rita, Sue and Bob Too - Playhouse Theatre, Liverpool

Image Source: Liverpool Echo

Written By: Scott Gunnion

Format: Play
Genre: Comedy Drama
Date: October 10 2017
Location: Playhouse Theatre, Liverpool

What is there to say about Rita, Sue and Bob Too? It is the most unpretentious of beasts, if you care to be blunt about it.

Uninhibited by inhibitions and hard-faced with bare-faced cheek, this show was full frontal - and that’s not a reference to the naked arse shots that were full and prominent. The producers, Out of Joint, certainly know how to put on a show.

James Atherton, of prior Hollyoaks fame, was excellent as the habitually sleazy Bob. What ought to have been a black and white moral issue about consent and sexual maturity was coloured in heavy with multi-coloured felt tip and highlighted with permanent marker.

You could not stencil Bob with any ill intention; this was merely a man who was prisoner to his sexual desires and intense desire for regular sexual activity. You never feel any resentment or contempt for him, despite his obvious moral failings. It is a testament to Atherton’s skill as an actor that he manages to paint Bob as a lovable rogue.

This was a production that easily managed to convey a very complex sexual situation in a palatable, easily relatable manner. It is almost impossible to feel judgement or disdain for the three major characters, even though Bob’s hard-done-by wife features and makes an attempt to tug on the heart strings.

Rita, Sue and Bob Too is a riot from start to finish. An all Northern cast in their element on a Northern stage in front of a Northern audience, and to top it off, it comes complete with an excellent 80s soundtrack. There’s Soft Cell, Bowie, Duran Duran, The Human League. Completely fitting for a production that is gloriously of the 80s, in all its inoffensive political incorrectness.

Summing it up, this is an ace production with real heart and real spirit.

Overall Rating: 7.5/10 - Good

Theatre Review: The Tin Drum

Image Source: Everyman
Theatre (Photograph by
Steve Tanner)

Written By: Scott Gunnion

Format: Play
Genre: Musical
Date: October 3 2017
Location: Everyman Theatre, Liverpool

Based on a 1959 novel by Gunter Grass and 1979 Academy Award-winning foreign language film of the same name, Kneehigh’s The Tin Drum is nothing short of immensely impressive.

The Tin Drum follows Oskar, the rather obnoxious offspring of a greengrocer in the WWII era who, repelled by his predetermined fate to wind up a greengrocer like his alleged father, resolves never to grow old. He prefers to remain in his perpetual infancy, thinking himself to be superior to the adults around him.

Oskar, inflicted with delusions and pretentious of grandeur, makes his presence felt by banging his tin drum, the sound of which can shatter glass. He bangs his drum against elders whom he presumes to know better than. He never shies away from making himself known. On stage, he manifests in the form of a unique puppet, operated and voice by different members of the cast.

By opting to have the protagonist played by a puppet, the producers and directors abandon the conventional in favour of the insightful and the inventive. But Oskar is as cynical as he is superior. Having different actors voice him, far from creating a jumbled mess, illuminated the character as an omnipresent presence. The score is raucous - a sublime mesh of 80s electro. It may have deviated from the play’s setting, but it was incredibly infectious in doing so.

And nobody could have begrudged how well the music fit the setting: Nazis with a 1980s twang. The far right from left field. This was a well-conceived adaptation of a difficult subject matter, brought to life by a tight-knit, at times androgynous cast. The direction was simply exceptional. And the whole thing was expertly delivered, and entirely in song.

Overall Rating: 9/10 - Outstanding

Theatre Review: The Suitcase

Image Source: Everyman Theatre

Written By: Scott Gunnion

Format: Play
Genre: Drama
Date: October 4 2017
Location: Playhouse Theatre, Liverpool

The Suitcase comes all the way to the UK courtesy of the Market Theatre, Johannesburg. Quite how it managed to find its way all the way to these shores I’ll never quite understand.

The scope of said journey implies that there is something grand and magical about this production, something that justifies bringing it all the way to the UK for theatregoers to absorb.

Exceptional? It was not. In fact, it could barely aspire to be average.

In spite of the Apartheid era South Africa setting and the rich landscape that the set design could possibly exploit, The Suitcase is nothing but a rainbow of grey. Its set was basic, bland and unimaginative.

To its credit, the singing was exceptional, although proceedings were inhibited by the frequent use of obscure African language within the script. This meant that it was sometimes hard to follow the point of any one scene.

But the problem with The Suitcase is that it doesn’t really have a plot. There is a man looking for work and then towards the end somebody gives him a suitcase. There isn’t much to get your teeth into.

The Suitcase, despite the title, is in fact not about a suitcase. In fact, the suitcase plays a bit part towards the end of the production. The tone was quite often sombre. Rather than a tale about a suitcase, or anything remotely to do with a suitcase, this is primarily a tale about the perils and oppression of unemployment.

A tale about a man (Timi, the protagonist) desperately scouring the city looking for work in order to provide for his wife and pending child. Every humane person can relate to that. But there was no climax; only a massive anticlimax relating to the contents of the fabled suitcase.

This is a play that, although deficient in spark, was not to be found lacking in heart. The performers are to be commended, but the content was thin and wanting. I couldn’t wait for it to end.

Overall Rating: 4/10 - Disappointing

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: Last Train To Auschwitz

Written By: Mark Armstrong

Format: Play
Genre: Drama
Date: September 21 2017
Location: Epstein Theatre, Liverpool, England

Last Train To Auschwitz, which has just returned to Liverpool's Epstein Theatre, is on many occasions a harrowing, un-nerving and disturbing show to watch. And yet it is also extremely well-performed, bringing to life the horrors of the Nazi concentration camps in a way that few shows, films or television dramas have ever been able to achieve.

This is less a show and more a snapshot; almost like a recreation of events, rather than a presentation of highs and lows. Because the highs do not exist here; it is one low after another, as Last Train To Auschwitz focuses on a group of people whose lives have been drastically changed by the Nazi dictatorship led by Adolf Hitler, which has ultimately seen them transported by train to the most notorious concentration camp of them all in Auschwitz.

We meet two families, with one gypsy grandmother looking after two children named Karl and Anna, and another mother (Miriam, played by Crissy Rock) looking after her two daughters, one of whom - Rachel - has lost her mind due to the chaos caused by World War II. We also meet two sisters, Sarah and Ruth. Ruth is a famous movie star, whose Jewish heritage has nevertheless resulted in her being part of the cast heading to Auschwitz. All are Jewish or Gypsy, and though there are tense arguments, any lingering animosity is overcome by the sheer terror and fear of what is likely to happen to them, partly influenced by the abuse they receive, both verbally and physically, on the train journey alone.

Once they have arrived, things only get worse, with one horrifying incident after another defining their lives, essentially until they become too weak to fight back and die, as terrible as that sounds. The pain that these women and children feel gets worse and worse, with some choosing to risk it all for the small glimmer of hope that they might somehow escape the horrendous conditions they find themselves in. The intimidating presence of the Beast, and his assistant Gretchen (a Jewish lady herself who sides with the Nazis to save her own family from further torture), ensures that the victims continuously lose faith and hope, simply suffering as they slowly die.

Though the entire show is extremely sad and tough to watch, the saddest scenes come towards the end when we realise that only the grandmother managed to survive the ordeal, after allied forces came in to rescue the victims from the camps after the war ended, only to pass away herself suddenly. Though she reunites with those she met along the way in Heaven to close the performance, it is nevertheless a heavy toll to take on the emotions of the audience that this appalling situation, which these characters find themselves in solely because of their religious beliefs, literally has no happy ending for anyone involved. Worst of all is the knowledge that this and many experiences similar to this actually happened during World War II.

The use of still photographs as the background setting is powerful and speaks volumes without saying a word, as do the lack of additional scenery, the minimal props (benches, chairs, a table and a bed) and the lack of any background music. This creates a stark reality and immediately tells the audience that, as odd as this may sound, this is not a show that you will enjoy, but rather an educational experience which is impossible not to touch the emotions of those in attendance.

It was hard at times to make out some of what was being said. The dialogue wasn't always audible due to poor microphones; depending where on the stage that the characters were, some lines couldn't be picked up. Also, certain lines were spoken a little too quickly because, whilst all involved maintained German accents throughout, this led to moments where one couldn't understand what they were hearing. Also, the first half was surprisingly short at 35 minutes, which made the second half at almost 60 minutes a bit of a struggle to watch; a 45/45 split would have been more advisable.

Nevertheless, these minor issues can't take away the fact that this is a very compelling production. It was very interesting that people from three completely different backgrounds, with their own unique circumstances, all bringing them together, and bringing them closer to one another as they couldn't help but bond and care for one another through the torture they were going through. Each person's situations explained why they were on the train, and though they cared little for each other when they first met, they built up safety and support for one another, at times willingly taking punishment to prevent others from receiving such treatment, in particular the young children. It's ironic, but also very disheartening, that ultimately the only way that Miriam can protect her youngest daughter is to end her life herself.

The play portrayed the hopelessness and dread of the captives, but it also provided hope in demonstrating how their friendships became their survival technique. It was very well-acted, the story was easy to follow (partly due to the well-known historical nature of Auschwitz), and everybody involved was completely believable. Crissy Rock steals the show as Miriam with a heart-wrenching portrayal, a major contrast to her usual jolly and comedic self, and her rendition of Yiddishe Mama was very moving; however, all cast members should be proud of their performances.

It's an extremely tough show to watch, so it won't be for everybody, but if you can handle the dark and disturbing subject matter, this is well worth going to see, and it does end on a high note as the characters, now in Heaven, join in with the audience as they clap along to Hava Nagila.

If you want a real insight into what went on at Auschwitz, and a true understanding about what so many members of the German population were forced to endure during the Second World War, I highly recommend that you see this show.

Overall Rating: 8/10 - Very Good

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