REVIEWS
Waiting for Gateaux
Theatre Royal, Newcastle
The writing team of Ed Waugh and Trevor Wood scored an enormous success with
their second play Dirty Dusting which opened at the Customs House, South Shields
before the late Peter Sarah arranged a transfer to the Theatre Royal , in
turn this led to a sell out tour, with dates in Australia being planned.
Waiting for Gateaux (their forth play following Raising the Stakes) again
started life at the Customs House and has transferred across the river to
the Theatre Royal before a planned UK tour next year.
Set in a Yorkshire village hall the club has hardly any equipment and classes
only last a matter of seconds until the class is bored and move on to another
exercise. With no motivation, no equipment and no members this must be the
world’s worst health club.
Maureen (played by Sally Bankes) who runs the club does not take weight loss
as a serious matter and even advertises for members in the cake shop window.
When Sophie arrives promising to put the club on TV, Maureen and her friend
Jackie are all for the idea, until they discover it has all been a ploy to
close the club. Along with the only male member, Donald, who only comes to
the club as he fancies Maureen, and a young girl called Raven, who does not
want to be there, they decide to fight back.
The idea is reminiscent of the stage play Stepping Out, set in a village hall
, where each member has their own story to tell and you know the sole male
member will come good in the end.
The cast of five work extremely hard and there were plenty of belly laughs
from the packed audience but overall this play does not have the edge of Dirty
Dusting.
The Unexpected Guest
Theatre Royal
Sept 17th for 1 week
Bill Kenwright has secured the rights to produce Agatha Christie plays under the name of the Agatha Christie Theatre Company and the second such play is The Unexpected Guest.
But it was not only the play, set in 1957, that brought back pangs of nostalgia last night to the Theatre Royal. It brought back memories of the 70s ands 80s when “whodunit pot boilers” toured with a cast of TV faces who had recently had their characters killed off from TV soaps or actors who had left to try and not be type cast, often never being heard of again.
In this production we have a cast headed by Susan Penhaligon (recently she has been in Emmerdale but is best remembered for a Fine Romance with Judy Dench) along with Ben Nealon (Soldier Soldier), Dean Gaffney (Robbie from Eastenders and I’m a Celebrity Get Me Out of Here) , Derren Nesbit (Where Eagles Dare) and Mark Wynter (Best known for the song Venus In Blue Jeans)
The play opens with a dead body slumped in a wheelchair and a woman standing a few feet away with a gun. Then a stranger enters and finding the scene talks the woman in to admitting she has just killed her husband and willingly assists her with an alibi.
Needless to say as in most Christie plays all is not what it seems and we are quickly introduced to a range of characters who all have motives for the murder.
Unfortunately the dated piece has nowhere to go and there is no build up of tension, infact I sat from moments in to the second half realising who the killer was, until they were finally revealed almost an hour later. The cast do what they can with the piece but it has no tension and what little humour there is does not compensate for the stilted dialogue and out dated play.
There is still an audience for this type of theatre and that is shown by
the fact the Mousetrap is still running in London after over 50 years. But
hopefully the next production from the Agatha Christie Theatre Company will
be a play that is more worthy of being revived.
Aspects of Love
Theatre Royal, Newcastle until September 15th then national tour
**
Aspects of Love is another revival of an Andrew Lloyd Webber musical (with
lyrics by Don Black and Charles Hart). Taken from a novel by David Garnett,
this musical is best known for the song Love Changes Everything, which was
a massive hit for its original West End leading man Michael Ball.
The story revolves around Alex Dillingham who meets and falls in love with an actress called Rose Vibert. Alex takes Rose to stay at his Uncles Georges’ empty villa where they are happy until George himself arrives and Rose realises she is falling in love with both men. Torn between them she decides to deceive Alex, by saying she is required to return to the theatre, while she actually follows George, and they eventually marry
Thirteen years later Alex goes backstage to meet Rose following her performance in a play and together they travel to meet George and Jenny, their daughter. But two years later Jenny is falling in love with Alex, a relationship George is determined to stop, not realising the tragic events that are to follow.
In this new production it is the female leads who score head and shoulders above the males ones.
Shona Lindsay who plays Rose steals the show from the other leads. She has
been the youngest performer ever to play Christine in Lloyd Webbers Phantom
of the Opera. Other roles include Sandy in Grease and Milly in Seven Brides
for Seven Brothers.
Her rendition of Anything But Lonely was the best part of this production
Poppy Tierney as Guiletta, provides the alternate love interest for both George and Rose (there was a verbal intake of breath from a large part of the audience over this). She has just finished playing Eliza in Kuala Lumpar and a Scandinavian tour as well as being the alternate Mary Poppins in the West End.
However the central character of Alex is played by Matt Rawle ( who has just finished playing Che in Evita, another Andrew Lloyd Webber revival), unfortunately he has neither the charisma or stage presence demanded for the role and you are left wondering why all these women are throwing themselves at him. I could not help but think how much better Lee Mead would have been suited to the role had the TV competition not been for Joseph, but the lead in this production.
While David Essex brings David Essex to the role of Uncle George, but he certainly still has his loyal following who ensured his curtain call was greeted by cheers.
Where this production fails to grip is due to the fact that the sung through score contains many short scenes which involve continually changes of scenery and blackouts. While the set by designer Robert Jones is very cleaver, and nice to look at, only one of the revolves is motorised so you continually see stage hands pushing the other two revolves. Also when the show originally opened in the West End the set was based on a series of “travelators” (similar to those in an airport) and this allowed the scenes to flow and give it a filmatic feel, which allowed the short scenes to feel natural. Neither the Australian version of the show, (which came to the Theatre Royal many years ago) or this new revival have this and you are left watching scenery almost continually move.
The only scene that had any heart (well into the second half) was centred
around the song The First Man You Remember, set on the terrace of George and
Roses home. Apart from that this is a cold revival but because of the names
Andrew Lloyd Webber and David Essex, it is bound to be a success.
Fame
Theatre Royal Newcastle
July 16th for 2 weeks
As the audience was on its feet, with the cast singing and dancing to the title track “Fame” (centre stage was the obligatory yellow cab) you could feel the energy across the footlights. Unfortunately it had taken over two and a half hours to get to this point.
The action takes place in the New York High School for Performing Arts between 1980 and 84. Initially we meet the pupils as they audition for the school and then follow their trials and tribulations. We have a few stereotypes thrown in for good measure, as well as a pupil who is a brilliant dancer but fails his English exam, a dancer who is over weight, two pupils who are destined to fall in love, but he will not accept the fact, and finally the drug addict.
This production is nearing the end of a very long tour that started in January and has only a week in Aberdeen after its stay in Newcastle and it shows. While all the singing is of a very high standard, the same could not be said for the dancing. The dancers were not together at times and gave the impression of going through the motions. The exception being Leanne Pinder as Iris Kelly who was excellent. Resident Director David Peyton-Bruhl (who plays Mr. Scheinkopf) has his work cut out to keep things together until the tour finishes.
However the solo singers were in a different class, each one giving their all, especially Debbralee Wells (Miss Sherman) and Sopha Nomvete (Mabel Washington). Unfortunately the orchestra constantly drowned out the ensemble singing throughout the production. Normally in this show (I have seen two previous productions of FAME) it is not so obvious which are the cast are the singers and which are dancers as they have talents that cover both areas, but here this is not the case.
While the whole production is an ensemble piece the one recognisable face is Abi Findley, who was a TV finalist in the search for Maria in the Sound of Music. While her performance was head and shoulders above a lot of the cast, it was interesting to note from the programme that she thanked Connie (Fisher) for winning, as it enabled her to play the lead in Blondel and then join this tour of FAME (rather than be leading lady at the world famous London Palladium in a long running hit show seems an odd choice).
The stage show is very different to both the original movie and the TV show Kids from Fame (I admit to having seen them live in Birmingham). But this is the first time in any version of FAME I did not care for any of the characters or what happened to them.
This production should be enjoyed for the high energy from a young talented
cast unfortunately if it were not for the singers in the version there would
not be a lot to enjoy.
Danny the Champion of the World
Theatre Royal
July 10th for 1 week
Roald Dahl understood children and therefore wrote books that held their attention.
Certainly the subjects tackled had a dark or nasty sides that children love,
such as the children in Charlie and the chocolate factory, Aunts Sponge and
Spiker who are flattened in James and the Giant Peach and Miss Trunchball
in Matilda.
In Danny he gives us Mr Hazell who is trying to evict Danny and his father from their home and take over their land. Despite having a great resemblance to Alan Turner from Emmerdale, this character is met with hiss and boos when he appears and remains Mr Nasty for the entire show, which runs just over two hours.
Danny lives in a caravan, with no running water or electric, with his widowed father and helps run their small garage and petrol station. But Danny becomes aware of his fathers disappearances at night and finds he is poaching on Mr Hazells land. One night the father does not return and Danny finds he has fallen into a trap and hurt himself. It is while he is in hospital that Mr Hazell arranges for social services to check on Danny which results in an eviction notice, as there is no electric or running water to the caravan.
With the whole town in uproar over this, Danny and his father arrange to sabotage the pheasant shoot arranged by Mr Hazell, which they do with the help of the more than willing theatre audience. Afterwards electric and water is laid on to the caravan so Danny will not lose his home.
This show does not pull any punches, covering subjects such as Dannys dead mother, pheasant shooting and eviction but the original story is so strong that children are held spell bound. I took my five year old to daughter and she was hooked from the start despite not knowing the story. As usual with a Dahl story justice and fairness win and there is a great baddie and plenty of humour, but a child is central to the tale.
The characters are vividly brought to life by an excellent cast and playwright David Wood ensures that he has not tampered too much with Dahl’s original work. (this is his sixth Dahl adaptation).
This is an excellent show to introduce children to the theatre that will
appeal to Mums and Dads as well as children. It is always noticeable when
children are captivated by the story as the trips to the toilet are few and
far between; in Danny I never noticed one child leaving their seat throughout
the performance to go to the toilet. In my book you cannot get higher praise.
The Seagull
By Anton Chekhov
Royal Shakespeare Company
Theatre Royal, Newcastle
Review by Peter Lathan (2007)
This review was supplied by Peter Lathan, Editor
The British Theatre Guide www.britishtheatreguide.info/
There was a time when watching a British production of Chekhov was an exercise in masochism: gloom piled upon gloom, doom upon doom, and one left the theatre feeling ready to give up the ghost. We've got past that now and have recognised what the Russians have known all along, that there is much humour in Chekhov's plays. But of course it is humour which emphasises rather than diminishes the melancholy which pervades his work.
I don't remember seeing a production of The Seagull which made the audience laugh as much as Trevor Nunn's does, and this is without playing for comedy but simply allowing the text to control the performances. The great tragedy inherent in Chekov's work is not the Aristotelian hubris and nemesis, nor is it the disturbance of the natural order that we find in Shakespeare (as in The Seagull's sister production in this season, King Lear), but it lies in the fact that human life is, at bottom, ridiculous: our great passions, whether love or ambition, achieve nothing.
In The Seagull no one's love is reciprocated, and even those who achieve
what they dream of - Medvedenko's marriage to Masha, for example, or Nina's
having her affair with Trigorin and becoming an actress - find that it turns
to dust. Even the "great" actress, Arkadina, has to constantly reaffirm
her status, even to the extent of rubbishing her son's work, and desperately
hangs on to Trigorin.
Her son Konstantin cannot even commit suicide successfully. Mountains of passion
labour and produce nothing but a laughable little mouse.
This emphasis on getting the most out of the text is something the RSC does well, and so it is here. All Chekhov's clues about character and relationships are picked up and a play which is essentially a series of conversations with little in the way of actions becomes very gripping, without resorting to continual exhibitions of angst!
Frances Barber brings Arkadina to vivid life in a compelling performance, whilst Richard Goulding, recently gradulated from the Guildhall, captures Konstantin's anguished passions with all the vehemence and hyperbole of the young. The complexities of their relationship are well delineated, especially when she dresses his head wound, a scene which encapsulates the whole gamut of the emotions they feel for each other.
Romola Garia's Nina, too, is full of passion, youthful innocence and exuberance to begin with and, in the last act, she captures the disillusionment, despair and recognition of what her life will consist of beautifully. Monica Dolan plays the heavy drinking and snuff-taking Masha with a controlled desperation which makes the humour which arises from her words and actions almost painful.
As Trigorin Gerald Kyd is truly a hollow man: although attractive to women (witness his conquest of Arkadina and Nina) and a success as a writer, there is nothing inside but self-regard. Which is also true of Doctor Dorn - another superb performance by Jonathan Hyde - who, in spite of his professed passion for Polina (Melanie Jessop), deliberately stands outside, playing the part of the commentator, the detached observer. His final line was chilling in the extreme.
But of course most of the audience had come for Ian McKellen (who alternates the part with William Gaunt) and, yet again, they were not disappointed. His Sorin is truly delightful, a loveable, funny old man who has reached the stage of being able to look back on his life with a detached amusement - a life of failure to achieve his ambitions, his only achievement being something that he didn't want in the first place.
This is a superb production with not a weak link anywhere. Not to be missed!
Much Ado About Nothing
By William Shakespeare
Chapterhouse Theatre
Sunderland Empire and touring
Review by Emily Taylor (2007)
This review was supplied by Peter Lathan, Editor
The British Theatre Guide www.britishtheatreguide.info/
(Note: this production was originally programmed to be performed outdoors at Herrington Country Park as part of the Empire's Centenary celebrations, but bad weather necessitated its relocation to the Empire itself.)
The relentless rain put a dampener on Sunderland Empire's Centenary celebrations with the open air production of Much Ado About Nothing forced indoors to avoid a washout.
Firstly, Chapterhouse Theatre Company should be commended for transferring its production into the shelter of the Empire at such short notice. I'm not sure whether the last minute move deterred outdoor theatre lovers but the modest audience and sudden lack of a beautiful country park backdrop may have contributed to why this adaptation failed to be "much of ado." I must confess at this point to being spoiled earlier in the week to an RSC production led by Sir Ian McKellen, which did raise the bar to quite an unattainable height.
What would be billed these days as a light-hearted 'romcom' Much Ado About Nothing follows young lovers Hero and Claudio who are to be married in one week. To pass the time, they conspire with Don Pedro to set a "lover's trap" for Benedick, an arrogant confirmed bachelor, and Beatrice, his favorite sparring partner. Meanwhile, the evil Don John conspires to break up the wedding by accusing Hero of infidelity.
Despite being perhaps Shakespeare's most popular comedy I found it difficult to laugh out loud. The rest of the audience might vehemently disagree with me though as they seemed to lap up the slapstick moments. The interjections of music from the actors were a nice idea and worked well at times (namely when the guitarist played) but there were some truly cringe-worthy moments, i.e. a painfully flat flute, some awful singing and an awkward and embarrassing rendition of 'Hey Nonny' by three of the principal men in the first half.
However, there were several positive elements to this production, which went some way to counteract the negatives. Chapterhouse's answer to Ewan McGregor, Simon Michael Morgan, was by far the strongest thing about this play. He played each trait of his character with ease and was convincing at all times. Eleanor Jones came to life in the second half and was likeable and funny as Margaret and John Rayment was well cast as Don Pedro.
Nicola Weeks was completely melodramatic as Beatrice but this seemed to blend in more successfully as the play went on. Cassandra Wilson made little impact as Hero and Jay Howard was much better suited to the Benny Hill-type watchman he played in the second act than to the authoritative Leonato.
Again, I want to reiterate that Chapterhouse did well to transfer Much Ado into an indoor setting literally overnight. But perhaps the incomparable atmosphere of a summer's evening would have helped make this production a worthy contributor to the Empire's centenary celebrations.
King Lear
Theatre Royal Newcastle
June 29th to July 7th
Playing in rep with The Seagull (check box office for details)
When the RSC first played the Theatre Royal the company included actor Ian McKellen and productions directed by Trevor Nunn. Now 30 years later Ian McKellen leads the company with two productions directed by Trevor Nunn. The opening night of this season must be most anticipated evening at the Theatre Royal for several years and there was buzz of excitement from the packed audience, which included Trevor Nunn.
As the lights in the auditorium dimmed and the cast swept on to the stage there was no doubting this was going to be a quality production.
McKellens Lear initially has small but noticeable hand trembles that give us the first signs of the characters fragility, but as he disinherits his youngest daughter his condition worsens. As Lear quarrels with his other daughters he goes out in to a storm accompanied by his “Fool” and his mental state deteriorates as he falls in to madness, each step of the illness is brilliantly portrayed by McKellen.
While this is undoubtedly the RSC best production for some time it is not without controversy over one scene. As Lear descends in to madness, so to does the action as McKellen drops his trousers and puts his shirt over his head revealing he is wearing nothing underneath. While an earlier version of the play with Ian Holm involved complete nudity, we have the bizarre sight of Lear wrapping his head in a shirt as he tries to take if off, while his trousers languish round his ankles. This scene is being changed for the next stop on the tour (Singapore) and the whole production will be better for it. I could only feel pity of Sylvestor McCoy who as Lear’s Fool, has the unfortunate task of hoisting Lears trousers back into place.
Ironically the part of Egdar could justify the nudity (exactly the way McKellen played the part several years ago) but in this production Ben Meyjes retains his dignity in what is best described as a grey nappy.
Leaving this scene aside the rest of the production is virtually flawless with a first rate cast being lead by one our own greatest actors, who is equally at home appearing in films, stage or playing a part in Coronation Street.
Matching McKellans performance is William Guant (remember TVs the Champions?) as Gloucester, who is genuinely moving. The scene in which his eyes are plucked out is both compelling and gruesome.
Frances Barber came into her own as Goneril when she poisoned her sister, however I failed to connect to Regan as I found Monica Dolan to be to flighty.
The set designed by Christopher Oram is magnificent. It looked like a cross
between the Theatre Royal Grand Circle itself and the set of Phantom of the
Opera. During the storm the set actually starts to decay, leaving us with
a mere shadow of its former self, just as Lear was doing the same thing.
The final scene as the dying Lear cradles his dead youngest child, while the
bodies of his other two daughters lie at the front of the stage, is extremely
moving and is as compelling as theatre gets.
This would be as perfect a King Lear as you could get were it not for the
unnecessary nudity, I only hope the audience in Singapore realise how lucky
they are.
HOT FLUSH
Theatre Royal
June 18th for 1 week
Why would anyone want to write a musical about women’s sufferage and female menopause and show it to a theatre of women (and a handful of men) beat me as a concept BUT it certainly worked.
The stunning cast included of Sheila Ferguson, Marti Webb, Rula Lenska and Rachel Izen with the token man being Sam Kane.
While the handful of men in the audience looked set to squirm in their seats as topics such as, hot flushes, incontinence, memory loss and HRT are tackled; Kane tries to restore the balance for them during the second half when he addresses the audience.
The four women were the heart of the show each have a story to tell. Sylvia (Sheila Ferguson) the vivacious woman with a lust for the high life and a string of affairs under her belt. Myra (Rula Lenska) the high powered lawyer whose husband found comfort in a younger model. Helen (Marti Webb) the down to earth mother whose husband has died and Jessica (Rachel Izen) the married woman who has never seen her husband since he got a shed at the bottom of the garden.
Sam Kane played all the male roles and was undoubtedly the star of the show; he also had the biggest wardrobe! His costumes ranged from a judges full regalia to a leather mask and thong, which he wore during a speed dating sequence. His looks, humour and excellent singing voice meant he carried all the parts ease, be it the dopey husband or the down to earth barman (not forgetting the thong clad speed dater!).
The women on stage are powerful characters but he is more than a match for them. He showed us humour, charisma and professionalisms all wrapped in a body to die!
The music provided by the “Hormonettes” is very familiar but the lyrics are new .
This is a musical about HRT and the menopause, which pulls no punches while covering serious topics with humour and ease the next.
It is a fun, terrific night out that has a great cast which
is headed by Kane.
The Producers
Sunderland Empire
June 5th to 23rd
The Producers is best known as the classic 1968 Mel Brooks film starring Gene Wilder as the hapless Leo Bloom. But years later Brooks turned the story in to a musical where it won 12 Tony awards on Broadway and has recently finished a successful run in London West End as well as being made in to a film.
The story revolves around Max Bialystock, a one time hit producer who can now only produce shows that are so bad they close on opening night. To fund these productions he has an army of little old ladies who are more than willing to hand over their life savings to him when he pays them “attention”.
But his life changes when Leo Bloom calls to audit his accounts and discovers that even a flop show can make a profit, with a little creative accounting. With this in mind Max and Leo set about producing the worst show Broadway has ever seen in the hope of making a million dollars each.
The show they choose is Spring Time for Hitler which they allow to be turned in to a camp musical by failed director Roger DeBris. On opening night against all the odds the musical is a smash hit and the pair face ruin, which leads to Max being arrested and Leo escaping to Brazil with the money.
Playing the lead role of Max is Corey English a consummate stage performer who played the role in the West End immediately before the show started to tour. While Leo Bloom is played by Joe Pasquale, with Russ Abbot camping it up as failed director DeBris. Abbot ensures that every time he is on stage (from his initial entrance wearing a silver ball gown that resembles the Chrysler building to his tap dancing Hitler) he is the focus and the show lifts to a new level. He is matched by English as the sleezy Max who keeps the show bouncing along. But as Bloom, the casting of Pasquale does not quite work, unfortunately he seems to have little stage chemistry with English. It is the relationship between these two characters that is the heart of the show and here it seems to be missing. Having seen the original cast in London, Nathan Lane (the original “musical” Max) and Lee Evans, I know this can work better, and I feel this is the reason the show takes a while to get in to its stride after a slow start.
But if it is almost three hours of entertainment and you are a fan of Mel Brooks then this show is for you. You may not remember the score after you leave the theatre as there are no memorable songs, but you will have witnessed rows of little old ladies tap dancing with their zimmer frames, Hitler in a song and dance routine and pigeons flapping their wing and cooing to the chorus.
It is Corey English (who deserves to be a house hold name by now) and Russ
Abbot that make this show work and they deserve all the credit they can get.
Ruby Moon
Northern Stage 2
May 25th to June 9th
It takes months from the initial planning to a show actually being performed infront of an audience. So while in the rehearsal stage of Ruby Moon the breaking news of the disappearance of Madeleine McCann made the edges of truth and fiction blur once more.
The play Ruby Moon actually makes you stop and think how many children go
missing each year, for instance 1,850 in Italy in 2005, Belgium 1,002 in the
same year and in 2002/3 846 cases of child abduction in the UK .
The play (by Matt Cameron) was written in 2003 in response to the number of
abductions in Australia and especially that of Eloise Worledge who has never
been seen since disappearing from her family home in Melbourne,in 1976.
We are introduced to the parents of Ruby Moon as her Father, Ray comes home, apparently from work, to again find his wife in a highly charged emotional state tearing herself to pieces as she relives the disappearance of their daughter Ruby Moon. The couple are being ripped apart by the guilt and distress of not having an answer to her disappearance or even closure by the discovery of a body.
Once again they are driven to ask the neighbours if they recall any further information on the day Ruby disappeared. They only know that Ruby left to visit her Grandmothers house at the end of the street, but she never got there. The extra information they find out and the arrival of pieces of Rubys’ doll in packages left at their door, only drive further divides between the couple, who are on a downward spiral of despair.
This two hander production is excellently played by Tilly Gaunt and Nick Haverson, who not only introduce us to Ruby parents but associated neighbours. Haverson range of characters, especially Sonny Joe and Sid, are mesmerising to watch.
Stage 2 has been transformed in to a living room, with the audience seating
on two tiers of benches all around in extremely close proximity to the actors.
But with a running length of two hours without an interval, no matter how
good the performances, you certainly are ready to stretch your legs. However
your closeness to the actors does heighten the claustrophobic feel of the
play as you begin to feel the pain and anguish the parents are suffering.
.
We can only imagine what is happening to the McCanns away from the glare of
the TV lights as the search continues, as well as that of the parents of other
missing children who are no longer in the glare of publicity. Ruby Moon gives
us an insight in to that and it’s a place that all parents pray they
will never go.
Beauty and The Beast
Theatre Royal
May 29th for 2 weeks
Ok let me declare my interest in the show straight away as I have seen the original West End version twice. The first time being with the original cast at a charity matinee with the Queen Mother sitting a few feet away, so a touring version has a lot to live up to.
But this version is very different to the West End original and you cannot fairly compare the two, but with the name Disney attached to the marketing you know the characters and songs already and on that score this production hits the mark. Also the five year old I took with me was glued from the overture to curtain call and I noticed children all around the theatre were held the same.
In the show we meet Belle (Ashley Oliver) and her Father as she tries to fend off Gastons’ advances as he is determined to marry her. After loosing his way in a wood her Father ends up at the Beasts Castle where we meet a range of familiar characters such as the candlestick, clock, teapot who can all sing and dance. However as in all good fairy stories it is only when Belle agrees to swap places with her Father and becomes the Beasts prisoner that there is any chance the curse, put on the Beast many years ago, will be broken and he will become a Prince again.
Played by Matthew Cammelle, who has just finished the Phantom of the Opera in London, where he played both the Phantom and Raoul, the Beast is not too frightening for the young audience (although he does have them jumping out of their seats at times) and introduces a lot of comedy as he tries to impress Belle.
The show has plenty of colour, pyrotechnics, special effects and cleverly mixes projected images with the live action. The score includes the award winning title song Beauty and the Beast, Be our Guest and Human Again, all classic hummable, foot-tapping numbers you cannot get out of your head hours afterwards.
This show is a feel good musical that, and as usual with the Disney name
attached delivers what it promises and that is entertainment for all the family.
Riverdance
Sunderland Empire
May 28th to June 2nd
Usually when you think of the Eurovision Song Contest your thoughts are of Abba, Bucks Fizz, Cliff Richard or nil points. But in 1994 during the interval entertainment when Eurovision was in Dublin, the audience saw a six minute dance spectacular called Riverdance and a phenomenon was born.
Composed by Bill Whelan, the production went on to be the hit of the Royal Variety Performance, where I was first introduced to it. The production then grew into a full blown two hour spectacular with three different companies touring the world playing the largest theatres and arenas.
Now being introduced to the full show for the first time I was unsure what to expect. So I was surprised to find it is a mixture of song (The Riverdance Singers), music and of course spectacular dance routines. Each segment is kept short and the whole production seamlessly moves along.
Of course we have the breathtaking Riverdance and finale routines but interspaced with this are the River Dance Tappers (Kelly Isaac and Lee Payne) who show off their skills of American tap dancing. This part of the show has a great comedy element as the Tappers compete against the Irish dancing. We also have Flamenco (Carmen Armengou) and the spell-binding Moscow Folk Ballet Company. This troupe of six perform a routine that defies belief, especially when one of the girls, kneeling down, is spun round so fast she just a blur. I was pleased when she repeated this at the curtain call as I did not believe it the first time.
When Riverdance was born it brought Irish dancing to a new audience by giving
it a fresh appeal that stretched the limits of what we expected. Many shows
have since tried to copy this but there is only one original and this production
of Riverdance proves why that is.
Angels of America
Part 1 and Part 2
Northern Stage until May 26th
Angles of America is split into two parts (Millennium Approaches and Perestroika) both being very lengthy in their own right and you can either see them on different days or in one “experience”. But when you enter the world of “Angels” you find that time disappears and the plays seen to be over in no time, with evening performances starting at 7 p.m. and coming out at the earliest (part 1) at 10.30 it proves what a marvellous piece of theatre you are watching.
David Kramners production of Tony Kushmers epic story is a visual treat to watch as the sound and lighting are as much part of the story as the actual plot itself.
Telling the story of two relationships that go in to free fall, the play grips from the outset and at scenes are cleverly split so the actors from both stories are on the stage at the same time. But this way of story telling is never confusing, you know exactly where you on both stories at all times, despite the cast of eight playing many characters.
The subject matter is brutal and honest and starts with one gay couple being torn apart by the confirmation that one has Aids. While Prior has to face certain death by the disease, his partner Louis turns his back on him when he is most needed.
While this is happening we are also watching a marriage fall apart as Mormon lawyer Joseph battles with his beliefs and repressed homosexuality, his wife Harpers continues to pop more pills to get her through the day.
These four characters form the bases of the plays as their lives become intertwined as the repressed Joseph meets Louis and begins a fated relationship with him. At the same time we enter the world of Harpers drug fuelled dreams and hallucinations and Priors disintegration in hospital..
The graphic, hard hitting scenes are off set by humour and contain strong language and nudity, but are compelling at all times.
The cast without exception are brilliant, as is the staging and direction and it is very rare that in British theatre, especially in the regions that we are able to see productions such as this. So once again Northern Stage have bought to Newcastle a production that would have passed us by only a few months ago and they are to be congratulated for that.
Coriolanus
Theatre Royal
May 16th to 19th
The start of the 30th Anniversary of the RSC first residency in Newcastle
is marked by Coriolanus, which was the last of Shakespeare’s plays to
have been performed in Stratford before the RSC theatre undergoes major redevelopment.
After Stratford this production played at the Kennedy Centre in Washington
before reaching Newcastle.
Telling the story of the arrogant Caius Martius who becomes “Coriolanus” after leading the Roman army, this is a dramatic production. As Coriolanus finds the people turning against him he joins forces with his old enemies so they can march on Rome together. However this relationship ultimately leads to his death..
Coriolanus is excellently played by William Houston, who has a wild glint in his eyes and comes across as ferocious individual with a short temper. His rasping voice commands your attention at all times.
But he is equalled on stage by Janet Suzman as Coriolanus’ Mother, Volumnia. When Volumnia has to appeal to her son on what is virtually an empty stage she is extremely touching, yet manages to maintain the tough ruthless streak that her character has.
Timothy West as Menenius ensures that between Suzman, Houston and himself you are held transfixed throughout the play
The direction by Gregory Doran provides us with a production that is clear
and easily switches from the bloody battles to touching moments with ease.
This production is a great start to the 30th season in Newcastle
42nd Street
Sunderland Empire
15th May to 26th May
42nd Street is the classic feel good show, where as in all good Hollywood
musicals, the chorus girl saves the day and becomes a star.
On this occasion the girl is a hapless young dancer from Allan Town called Peggy Sawyer, who is late for the open auditions of a new musical. But the leading man takes pity on her and manufactures a meeting with the shows Producer, Julian Marsh. From there she joins the chorus but is soon in trouble as falls foul of the leading lady, Dorothy Brock. During rehearsals Peggy accidentally knocks over the leading lady breaking her ankle and the producer cancels the show.
But the cast have other ideas and talk Marsh in to finding Peggy, who is trying to return home, as she is the only person who can take the place of the leading lady and save the show. When Peggy refuses to return Marsh bellows “I’m offering you the biggest part Broadway has seen in the last twenty years and you say Allan Town” Then as the entire cast appearing singing “Lullaby of Broadway” you know she will change her mind and save the day.
Having seen this production on Broadway just after it opened in the 1980s it is satisfying to see a fresh new version, as the last two touring versions of the show had been so cut down they lost the heart of the show.
Director Mark Bramble has maintained most of the shows original classic moments, including the opening number where the curtain rises just enough so you only see the feet and lower legs of the chorus tap dancing. Likewise the Shadow Waltz is left as a simple but effectively cleaver routine. However the same cannot be said of “Shuffle off to Buffalo” which does not work without a set of an American train sleeping car.
The score is made up of classic songs ranging from “We’re in the money”, “Keep young and beautiful” and “I only have eyes for you” and with a young energetic cast this show bounces along.
Full credit must go to Jessica Punch who plays Peggy Sawyer, this a very demanding role and she proves that she has the talent to be leading lady in musical theatre. Dave Willetts (Les Miserables , Phantom of the Opera) plays the tough producer Julian Marsh who is desperate for a new hit musical.
This production has your feet tapping from the first bars of the overture
until the curtain call and shows why 42nd Street is still a great night out
more than twenty years after it was a smash hit on Broadway.
The Suggestibles
Northern Stage
May 8th to 10th
The Suggestibles have built a following from their Friday night gigs at the Cumberland in the Ouseburn and had a sell out performance last year at Northern Stage. This time round they are in Stage 2 for 3 nights and promise a different show every night.
Being new to this group I was not sure what to expect, but at the start, true to their word the group ask the audience for a theme, an object, musical style etc, that will feature in the performance. Once these are noted down on a blackboard, the six performers, assisted by a keyboard player, start the musical.
The set is made up of a few basic props and two doors with the rest of the performance being down to quick thinking and imagination. The “musical” is made up of short scenes that when we where there included songs set in Spain and a running theme about the Church and dying of shoulder pad rot.
There is no doubting the cleverness of this group, the quick thinking and
improvisation. The humour sometimes misses the mark but in a show like this
that will happen. The Suggestibles have a growing loyal fan base and the packed
audience bore witness to that, this current further exposure at Northern Stage
can only enhance that.
Footloose
Sunderland Empire
May 7th to 12th
*****
Footloose will always be remembered as a film staring Kevin Bacon, but this musical version is a high powered, 110% adrenaline pumping, fast paced show that socks it to you between the eyes. The young cast are amazing with their complex dance routines and it can be seen that this show has recently come out of the West End with many of the original company touring with it. The dance numbers either side of the interval are spellbinding.
The story is straight forward, Ren McCormack, who moves to the town of Beaumont with his Mother, he finds that following a tragic accident a few years before, dancing is forbidden in the town. When Ren becomes determined to change the law the local preacher, Reverend Moore has other ideas, as his son was one of four people killed in the tragedy. The Reverends daughter Ariel is also going behind his back meeting boys and lying to her parents. Needless to say we know what the outcome will be, but getting there is fun.
Leading the cast is Derek Hough as Ren, who returns to the role after its
West End run. He is a former world champion Latin American dancer and sets
the standard for the Company.
Lyn Paul (New Seekers) plays preachers wife Vi Moore while her real life sister
Nikki Belsher plays Ren’s mother Ethel.
The show contains hit musical numbers Let’s Here It For The Boy, Holding Out For a Hero and the title song Footloose, all excellently choreographed by director Karen Bruce.
From the opening of the bars of the overture to the curtain call this production does not flag and delivers first class entertainment.
Scooby Doo
Sunderland Empire
Thursday May 3rd to 5th
Scooby Doo, live on stage brings all the familiar characters to life in cartoon style production. Shaggy, Velma, Daphne and Fred are all played by actors and look exactly like their cartoon counterparts. What makes this stage version work is that fact it sticks to a familiar format and all the cartoon characteristics and loud sound effects are maintained.
The story involves the gang going on holiday to Hollywood where they visit Daphne’s Uncle who is a well known film director. On the set of the film they become involved in the search of the Spectre who is disrupting the making of the film.
As the story keeps very close to oh so familiar cartoon scripts the younger audience know what to expect and that Scooby-Doo and his gang will unmask the villain at the end.
Credit must be given to the young cast who play the leads as they vividly bring the cartoon characters to life, with every expression, mannerism and movement, simply they are Scooby’s gang.
There was not much audience participation but the show provided just under two hours entertainment that had children hooked from the moment Scooby-Doo arrived on his scooter. The true test of this show was watching my five year old daughter who sat glued to the stage as her cartoon favourite characters were suddenly there in front of her.
From the gangs travelling in the Mystery Machine, to Scooby Snacks and the all important sequence where the gang have to run in and out of a selection of several doors, it is all here.
The success in the stage version is its familiarity and attention to detail
which cannot be faulted for the young audience.
Charley’s Aunt
Theatre Royal
April 23rd to 28th
Written by Brandon Thomas in 1892 Charley’s Aunt is a three act play
that could easily be classed as well past its sell by date if it were not
performed by such strong cast.
Charley’s Aunt if the title is Dona Lucia Dalvadorez who is travelling from Brazil (where the nuts come from) to meet her nephew at Oxford. When she sends a letter stating she cannot arrive panic sets in for Charles and his friend Jack as they need the Aunts to act as chaperone to the two girls they are madly in love with. So as not to be out done they convince Lord Fancourt Babberley to pretend to be the aunt. From then on chaos ensues as the real Aunt actually arrives, while the pretend Aunt suddenly finds she has unwanted suitors of her own.
While this production is fast paced and there are several excellent comic set pieces by Director Mel Smith it is Stephen Tompkinson who is the driving force behind the show.
Tompkinson (TVs Wild at Heart and Drop the Dead Donkey) takes this part by the throat and makes it his own. Spending most of the time in a large crinoline dress he makes every use of its swishing skirt and aside glances at the audiences. He seems to be having a ball in this role and if he is not I take my hat off to his acting skills as it certainly appeared to be that way.
While all the other members of the cast are competent in their roles it is Tompkinson who is the driving force and without him I fear this play would appear very dated indeed.
Hay Fever
Theatre Royal
April 16th to 21st
This revival production of Noel Cowards comedy is a well dressed affair, with
a great set by Simon Higlett capturing the essence of a country house in the
1920s, classic costumes and original direction by Peter Hall (redirected for
the tour by Joe Harmston).
Exactly a year ago this revival was a hit in London (opening April 2006), but the difference is that then the cast was lead by Dame Judy Dench, Peter Bowles (TVs To the Manor Born) and Kim Metcalf (Eastenders and now in the West End musical revival of Cabaret)
On tour we have a company lead by Stephanie Beacham as Judith Bliss (TV’s Dynasty and The Colbys as well as numerous theatre productions) and there is no doubting her stage presence. The evening rightly belongs to her as she makes the most of the role that so many of our leading actresses have played over the years and she outclasses everyone else on the stage.
Her husband is played by Christopher Timothy (TVs All Creatures Great and Small and Doctors) who for some strange reason wears a very odd wig throughout the show for no apparent reason, yet on the publicity shots with Beacham for the show (apparently meant to be in costume) he is not wearing it.
These two actors play the main stay of the Bliss family who have two children but all live life for themselves in their own selfish way. The Mother (Beacham) is a retired actress, while her husband is a distinguished author. When they all realise they have invited guests for the weekend, they not only get upset with eachother but ensure that the guests have a weekend from hell also.
The family are so wrapped up in their own world they cannot see the harm and distress they are causing even when in desperation the guests sneek past them in an attempt to escape back to normality. Unfortunately the Bliss family are to busy arguing to notice and when they do realise they think the guests are just rude for not saying goodbye.
There is no doubting the classic Coward comedy moments in this play and Beacham tries her valiant best to keep the production afloat, but the rest of the cast are no match for the West End original company, that this tour is riding on the back of.
Starlight Express
Sunderland Empire
April 10th to 28th
Andrew Lloyd Webber’s Starlight Express has returned to the Sunderland
Empire and its even better than before.
Although very different to the original version of the show that ran in London for 18 years, this touring version has a great set, terrific cast and 3D special effects for the race sequences. The production quality is so high it is worthy of a West End transfer.
The story was originally going to be used for an animated film but when that idea failed Andrew Lloyd Webber rewrote the story for his children and the musical opened in 1984. In the 90s it was updated and then in 2003 the present touring version was written (although the last time this show visited Sunderland part of the set reached in to the stalls which thankfully has been omitted on this tour allowing all the action to be on the stage and visible by all the audience).
The story is a simple one of hope and the tortoise and the hare scenario. Rusty and his father are steam trains and no apparent match for the new class of trains such as Electra and Greaseball . So when the trains decide to race everyone laughs when the old locomotive wants to join in one of the heats until he of course wins. But the race has been too much for him and at the final his place has to be taken by his son Rusty, who feels he is no match for the fast locomotives. Of course after much thought he does take his father place and the outcome is assured.
One of the highlights of the show is not the racing but when Rusty sings Starlight Express, the set changes to stars and he appears to float above the set. The races are shown in 3D on a large screen, with announcements made when you are to put on the supplied special glasses.
The costumes for all the characters are first class and the cast are all excellent skaters and singers. The songs move the story along at a good pace, no matter if is Dinah singing U.N.C.O.U.P.L.E.D or the Company belting out Light at the End of the Tunnel.
This is a first class production for all the family so get your skates to
catch this show while the tour is in the region
Buddy The Musical
Theatre Royal
April 10th to 14th
Buddy Holly died very young in a plane crash along with the Big Bopper and Richie Valance, yet forty eight years after his death, his life story and music is still packing theatres around the country. Yet with the current crop of TV reality shows I find it hard to believe that we can expect audiences to do the same for the likes of Will Young and Gareth Gates forty eight years after their deaths
Buddy was a monster hit when it originally opened in London way back in 1989 and subsequently on tour. But now we have a reworked version of the show with a basic set and smaller cast which has ripped the life and heart out of the show. I remember entire audiences dancing during the finale of the first tours, where as now only a few rise to their feet. There is no getting away from the fact that the audience wanted to have a good time and were ready to rock and roll, but this production failed to tempt them. Admittedly this cast brought more life to the show than was present when this version was in the region exactly a year ago, but it was still lacking overall and that was not due to any fault of the talented cast.
Each hit song is given a good airing including Peggy Sue (which was renamed from Cindy Lou to assist Jerry, one of the Crickets, love life) Oh Boy, Rave on, Maybe Baby, True Love Ways as well as the hits of The Big Bopper (Chantilly Lace) and Richie Valens (La Bamba ) as we chart the brief life of Buddy from being signed by DECCA Records to being killed in the plane crash.
Last nights audience fell into two categories, those who returned to see
this show once again and left disappointed and those new to the musical that
wondered what all the fuss was about. While still providing a reasonable nights
entertainment, which is what it is all about, this version of the musical
trades on the success of the original hit which is unfair and only makes you
question why the show was such a hit in the first place, luckily having seen
the original touring production a few times I know .
Life of PI
Northern Stage
3rd to 7th of April
Life of Pi is a Booker Prize winning story by Yann Martel and is brought to life in a family show presented by Twisting Yarns and Bradford Theatres.
What better way to test a family show than take tow young daughters and see if they agree with the marketing, I am pleased to say from the start they were transfixed although they did prefer the animals in the second half. The true test is that even though tired they could still retell the story, in detail by the time they got home.
The play tells the story of Pi a 16 year old Indian boy, a Hindu who embraces both Christianity and Islam in his search for one God. His family who own a zoo in Southern India decide to move to Canada taking some of their animals.
Unfortunately while sailing to Canada their ship sinks and Pi is left in a lifeboat. But he is not alone, he is accompanied by a zebra (with a broken leg), a hyena, female orang-utan and a Royal Bengal Tiger.
Stretching every childs imagination, this story is funny, sad and at times brutal but most of all entertaining, while the message of survival is not lost. The cleaver staging is inventive and colourful with fantastic costumes for the animal characters.
The small cast led by Tony Hasgarth as Pi work extremely hard and deliver
a first class piece of Theatre
A Cold Coming
Library Theatre, South Shields
3rd to 5th April
A Cold Coming is the first play by author Chaz Brenchley (winner of the British Fantasy Award and Northern Writer of the Year 2000) and he plays the central role of Quinn, who lies lifeless while waiting immentent death.
Telling the story of Quinn who lies close to death, the play introduces the friends who work around the clock looking after him so he can remain in his own bed and die at home. They have a routine which enables them to offer twenty four hour care, as each seems to have a reason to be there and want to repay Quinn, including his doctor, a former student and former lover Stuart.
Then unexpectedly Micheal arrives back from Japan to the home he left a year before, just as Quinn (his lover) health had started to deteriorated. His return opens up old wounds as accusations that he ran away instead of facing up to caring for Quinn surface. Micheal meets head on his accusers as they each try to find the motives for him leaving, and now suddenly returning, as Quinn faces death.
Brenchley ensures that you are never too sure which way the plot is going to turn as the true reason for Micheal returning are revealed and even at the final curtain I was left wondering if Micheal was heartless in his final act or a caring lover trying to redress the balance (to explain why would give the story away, but it left me thinking).
Sean Kenneys powerful performance as Micheal ensures you watch him at all times as he commands the stage (films include Star Wars : The Phantom Menace and Tomorrow Never Dies). The other actors cannot compete with his stagecraft and acting skills, so you expect him to win every arguement and fend off all the verbal abuse thrown at him. The exception to this is when Viktoria Kay and Iain Cunningham (as Debs and James) share the stage with him, then the balance is restored.
Directed by Peter Lathan, using a simple basic set, the play benefits from being staged in the small Library Theatre as this allows you the intimacy to care for the central characters.
This is not a play to enjoy it is a play to make you think and you come away
doing exactly that, I hope Brenchley is already working on his second play.
St George and the Dragon
Northern Stage
March 20th to 24th
The play actually starts in the foyer as the cast act out St George and the Dragon in a Mummers Play amid diners before the audience is allowed in to Stage1.
In the main theatre the opening scene is reminiscent of the market in Eastenders
(by
co-incidence Lindsey Coulson who played Sonias mother is actually appearing
in Stage 2 this week!) . But we are soon transported back to the time of St
Georges birth, the death of his mother and his battle with his brothers as
the plot quickly unfolds.
By the interval the audience are involved as volunteers are picked to join the English and Turkish Armies as they prepare to do battle. The opening of the second half sees the same audience members go to war and we witness a full blown battle using soft footballs, artificial legs and slow motion. These techniques are where the play scores as it makes the young audience use their imagination, from St George using a shopping trolley to represent his horse, a crown made of a belt and pegs, to a soldier using the lid of a swing bin as his helmet, young minds are challenged and stretched.
The second half does slow down after the initial battle scene and if the running time was cut to around two hours from its present two and a half you would have a first rate production.
The beggarsbelief company who present the play have already staged Ben –Hur
and Jason and the Argonauts in the same way so know how to captivate a young
audience.
With the company aiming to stage, Pinocchio, the Hunchback of Notre Dame and
20,000 leagues under the sea there is plenty to look forward to in the future.
High Society
Theatre Royal
March 19th to 24th
The mere mention of High Society (which started life a play called The Philadelphia Story) to people of a certain age conjures up memories of true films stars Grace Kelly, Frank Sinatra and Bing Crosby as well as classic Cole Porter songs such as I Love Paris, Who Wants To Be A Millionaire and Well Did You Evah?. So a stage version of this musical is going to find a ready made audience and having already played in London and toured the country extensively over the past few years, this new tour is still playing to packed audiences.
The story revolves the wealthy Lord family who are preparing for the wedding of Tracy Lord (Isla Carter) but the plans are upset by the arrival of her ex husband Dexter (Mike Sterling who has recently played both the roles of Raoul and the Phantom in the musical Phantom of the Opera).
Dexter is really after remarrying Tracy and ensures that he can bring the bride to be to her senses before she marries the hapless George Ketteridge. One of the reporters he invites to cover the wedding is played by Paul Robinson (TVs Russ Abbot Show, The Bretts and the film Beyond the Sea with Kevin Spacey) who played this part when the show last appeared at the Theatre Royal as did David Alder who plays the butler.
Probably to give this tour a fresh feel stunt casting has been used to fill the part of Uncle Willie, a small role which has been expanded (even in the curtain calls) to try and showcase the talents of the legendary Wayne Sleep. Unfortunately this is such an insignificant role that is really there just to add a bit more confusion to the plot as Uncle Willie is passed off as Tracys father, that Sleep appears to be struggling to do anything with it. His status makes him end up centre stage when the cast are taking there applause and shows he can still dance by doing the splits, but he does not look comfortable on stage, nor does his casting lend anything to the show.
The stage version of High Society has more songs than the original film and the action is slowed down considerably. This has resulted in the original sharp witty dialogue almost disappearing to be replaced by slapstick humour. However when you consider the songs being sung included True Love and He’s The Right Guy, as well as the title song, it is hard to know which of these classics should have been omitted.
The set is a simple terrace, which by the moving of a few pieces of furniture becomes different areas of the Lords palatial home.
This show is awash with classic songs, performed by an excellent cast who
bring a sense of nostalgia to the piece, but at the cost of the wit and charm
of the original dialogue, I am unsure if this is not too high a price to pay.
However the coach parties and audience of a certain age that remember the
classic film will no doubt ensure that this show has an audience for some
time to come.
The Seafarer
Theatre Royal
March 13th – 17th
The National Theatre hit play The Seafarer completes its tour in Newcastle. Written and directed by Conor McPherson this production has five very strong performances lead by Jim Norton as the blind Richard Harkin and Ron Cook (Dr Who and Parker in the Thunderbirds movie) as Mr. Lockhart
Set in the basement of a house just outside Dublin on Christmas Eve, we are introduced to Harkin and his brother Sharky as they recover from a heavy drinking session the previous night.
Initially the play is very strong on humour and peppered with four letter words which only add to the comic elements. However the action as they find Ivan, who has lost his glasses, still in the house does remind me of the scene setting for a farce. It is not until the unwelcome Nicky arrives with Mr Lockhart (Cook) that things turn darker. The humour suddenly stops as Lockhart reveals who he is to Sharky, informing him that he intends to beat him at cards and he has a terrible fate waiting for him.
As the other characters are unaware of this information the card game switches from comedy to tragedy very easily. While Sharkys past comes back to haunt him
McPhersons writing and direction never let you be sure if good will conquer evil or the identity of Mr Lockhart will ever be confirmed during the play. But true to form a solution is revealed as the tension switches back to comedy.
This is a highly watchable play that is delivers on all fronts and by the applause from last nights audience it will have a very successful run in Newcastle.
Thatcher the musical!
Northern Stage
Feb 27th to March 3rd
If it were not for Northern Stage a musical like this would not have the opportunity to play the North East and that in itself would be a great injustice. Having received excellent reviews before arriving in Newcastle, I am pleased to report that the show lived up to its word of mouth.
This show seems to have an audience that is either made up of students or people over 35 who remember Maggie, falling well into that category there were cabinet ministers and events of her career that I admit I had forgotten, which are brought to life in a satirical cartoon fashion.
At the start we have emerging from a massive handbag narrator Maggie, one of only two cast members who do not play other parts during the show. From here we are introduced to Young Maggie, Military Maggie, Diva Maggie, Power Suit Maggie Twin Set Maggie, Britannia Maggie, Betrayed Maggie and Elderly Maggie. Each of the Maggies is played by a different actress, who wear the same wig in different colours. When not playing a “Maggie” they rejoin the chorus and play other characters in Maggies life, such as Dennis, President Regan and Geoffrey Howe. The female cast turn each character in to an instantly recognisable caricature which at times is hilarious funny but they easily switch the mood when we reach milestones such as the Falklands War and Maggie being thrown out of office.
From the humble start in Grantham to the frail elderly Maggie we rarely see now, this musical leaves no stone unturned as it does now shy away from the miners strike and poll tax riots and is a stronger vehicle for doing so.
With different actresses playing Maggie (sometimes there are three on stage at once) the show moves along at a cracking pace, until it turns slightly too sentimental at the end with the elderly Maggie. This is the only part where I felt it was over long otherwise it is an excellent production.
If only there was a TV name associated with this show it could turn out to have a cult following like Jerry Springer the Opera. I hope that there is enough of a following so other audiences have the opportunity to see this production in the future.
However be warned, there is some audience interaction as one of the Maggies arrives through the auditorium in the second half. This reviewer found himself being plucked from his seat and had to man handle Maggie on to the stage!
Catch this while you can
The Last Laugh
Theatre Royal
Feb 26th March 3rd
The Last Laugh is on its final week of touring before opening in London’s West End and stars Martin Freeman (the Office ) and Roger Lloyd Pack (Trigger from Only Fools and Horses).
The play originally written by Koki Mitani has been adapted by award winning Richard Harris (Stepping Out) and is set in an unidentified country where any plays have to meet the censors approval before being performed.
Literally a two hander (apart from a brief appearance by Christopher Mellows as a veteran soldier) Freeman plays a writer trying to have his new play approved. He arrives with his bribe (a box of chocolates) only to find a new Censor (Lloyd Pack) has taken over. But there are two problems, firstly the Censor has never been to the theatre and secondly he has no sense of humour.
As the Writer tries to have his work accepted, the production revolves more and more around the comedy in his new play (which is a version of Romeo and Juliet), which is not understood by the Censor. This given the strength of the two leading men, have the makings of a great comedy, but unfortunately The Last Laugh fails to have a first laugh. Infact the first half is only mildly amusing in parts (with some of the comedy material being aimed at the Censors deformities) with the loudest laugh being when Lloyd Pack uses the Victor Meldrew catch phrase “I don’t believe it”, this is not the only catch phrase belonging to other characters that is used but interestngly these do seem to get the best of the all too infrequent laughs.
The second half (46 minutes in length) livens up slightly as the Censor tries to become involved with the Writers play. But when tragedy strikes the Censor, you are not involved enough with the character to care.
Told in what are often very short scenes, the story is set in the Censors bare office with the distant sounds of gun fire being heard from an illegal war that rages somewhere outside. If this is an attempt to make a political statement, it is lost as the production does not know what direction to go in.
Both actors make the most of the limited material they have and it is a credit to them both that the production fares as well as it does. Sadly the two hours running time felt much longer and I regret that I cannot see the production having a long run in London, Freeman and Lloyd Pack deserve much stronger material than this.
Blood Brothers
Sunderland Empire
Feb 18th to March 3rd
Not even Guys and Dolls received a full standing ovation throughout the theatre as Blood Brothers did on its opening night. There is something deep in the psyche of working class areas that resonates with the Blood Brother’s message. Willy Russell, who also wrote Educating Rita, has relived the North West’s massive economic downturn through this play and explores a genetic question with us. Is it only the way we are nurtured that determines our destiny? Through this musical he persuasively argues that it is. One twin separated from the other at birth grows up in a debt ridden council house with poor education, poor aspiration and poor health. The other twin Eddie (Craig Whiteley) has wealth, opportunity and education. One succeeds, the other fails in spectacular fashion. However it is the more personable of the Johnson twins Mickey who gets dealt the bad hand. The audience are seduced by the earthy charm of this loveable rouge and his charming mother Mrs Johnson (Linda Nolan). The Narrator provides a sinister commentary throughout and Craig Price (Jesus from JCS) gives it the depth and gravitas the role needs. The disparity of the class system is cameoed throughout Mickey and Eddie’s lives in this musical which unlike many of the American musicals is a part of our social history.
If you scroll down you’ll get the full story line from 18 months ago when the show last visited Sunderland. The only people still with the touring company are Linda Nolan and the Wardrobe Master David Hoy. Linda who has become synonymous with the show has battled with the big C and her return is a feisty as ever in this demanding role. However battle as she did with the big C she was struggling with the small c (cold) but her few sniffles did not detract at all from her gutsy performance. Having said it is a new cast this time rounds belies the return of Stephen Palfreman as Mickey. This role is hugely demanding requiring convincing performances as a young child, an adolescent and a depressive adult. Stephen is the master of the role and his return brings as near a perfect performance of Blood Brothers as you are ever likely to see.
It’s often said that this is a man’s musical and it’s the only one I know where men unashamedly cry at the end! It’s own strap line is “If you haven’t seen this musical - see it – if you have - see it again!” One that I wholeheartedly endorse.
Peter Pan on Ice
Theatre Royal Newcastle
Tuesday 20th Feb to 24th
J.M Barries classic childrens tale takes to the ice in the touring show presented by the Wild Rose Russian Ice Stars, who according to the programme are “the best skaters on the planet”. The standard of skating, speed and command on the ice last night fully backed up this claim as the audience watched the performance on what must be a classed as very small ice rink.
The Theatre Royal stage has been transformed into an ice rink, with the ice extending out over the orchestra pit. This show is an ideal chance for the Theatre Royal to show the versatility and magic of the theatre, as only last week the high energy Tap Dogs were strutting their stuff on the same stage, before that the Woman in Black was terrifying audiences and this week a family audience are watching ice skating
The story of Peter Pan unfolds in true picture book fashion as J.M. Barrie initially turns the pages of the book before taking his place at the side of the stage to view the chapters he writes come to life.
Starting with Mr and Mrs Darling putting their children to bed, we witness Tinkerbell arriving trying to find Peters shadow, before the boy himself flies in. Quickly from the bedroom we are transported to Never Never Land where we meet the lost boys, pirates, Captain Hook and of course a hungry crocodile.
The despite being on ice the story is always easy to follow and the action never slows during the two hour show, so the younger members of the audience never have a chance to become restless. Despite the music carrying the show along the story is so well presented that it is easy to follow and the audience are all more than willing to clap along to save Tinkerbell.
The stunts performed by the “pirates”, which include three performers spinning at high speed from a rope and the skating by all the cast is excellent to watch and being in the theatre you feel part of the action as the stage is close and the action is not lost in a massive arena. .
This is an ideal half-term treat for the whole family.
TAP DOGS
Theatre Royal
Monday 12th to Sat 17th February
Tap Dogs is a phenomenon that started in Australia, in 1995, before being
a massive hit at the Edinburgh Festival the same year after which came India,
USA, Japan and twelve years on the show is still playing to packed houses
as the new tour arrives in Newcastle.
The idea appears simple enough, six men tap dancing for just under an hour and a half with no interval. But forget your Fred Astaire and Gene Kelly routines, these men wear shorts or jeans, lumber jack shirts and boots and would not look out of place working at a shipyard. But can these boys can dance and prove it with each step of the show, as the routines become more complicated and breathtaking.
The simple looking set is peeled away between dance routines to reveal it is actually very sophisticated, containing a platform that splits, trapeze and bridges that rise and fall on a series of pulleys.
The routines range from simple solo numbers to group routines that raise the roof and on one occasion a dancer actually performs a routine while suspended upside down.
Interspaced with the dancing is comedy, the best of which is at the start of the show when we can only see rows of feet dancing beneath a large corrugated sheet of metal.
The set pieces are great to watch and a routine with baseballs is mesmerising
and easily shows the dexterity of the cast. At times during the show sparks
actually fly
(not from the feet of the dancers) and water flows, so if you are in the front
four rows be ready to wear the supplied waterproof, you will need it.
The lighting, sound effects and energy of the cast easily show why Tap Dogs has proved to be a hit around the world and judging by the reaction of last nights audience there is plenty of life left in the old dog yet and for many years to come.
Guys and Dolls
Sunderland Empire
Tuesday Feb 6th to February 17
This Frank Loesser musical, based on the stories by Damon Runyon, is often considered to be one of the best musicals ever, and with a score that includes Sit Down Your Rockin’ the Boat, I’ve Never Been In Love Before and Luck Be A Lady who can really argue.
I must admit that I have previously seen the NT production with Julia McKenzie as Miss Adelaide and the original cast of this DOMAR production when it opened in London with Ewan McGregor as Sky. That performance will remain in my memory as a fantastic theatrical experience as the whole audience rose immediately at the curtain call to give the cast a well deserved standing ovation and that was at a Saturday matinee!
So this tour of the Michael Grandage directed original (which is still playing in London) had a lot to live up to and overall it did very well. The singing and dancing are excellent and the dark sets designed by Christopher Oram still work and give the story a new gritty feel, instead of the garish sets that usually accompany this piece.
The musical tells the story of four characters, Sky Masterson, Sarah Brown
, Nathan Detroit and Miss Adelaide. Sky is a gambler who will bet on anything,
the more obscure the better, and when Nathan bets him to take any girl to
Havana for dinner, Sky accepts, only for Nathan to choose Sarah Brown who
works at the Salvation Army mission. Meanwhile Miss Adelaide is the fiancée
in waiting for Nathan ( for 14 years) and stress of trying to arrange the
marriage leaves her with a permanent cold.
Sky does take Sarah to Havana to win his bet, but while trying not to admit
it, the couple from very different backgrounds, fall in love. While Nathan
spends most of his time trying to find locations for his illegal card games
(including one in Sarah Browns mission), he also tries to continually avoid
Miss Adelaide, who is waiting to elope so they can finally be married.
While all four leads are very strong and have all played their respect parts in the West End production, the story is actually more about Sky and Sarah Browns relationship than that of Nathan and Miss Adelaide, who are I feel secondary characters. Therefore by placing “recognised names” (Nathans Detroit played by Alex Ferns (best known for Eastenders) and Samantha Janus as Miss Adelaide) into these lesser roles shifts the empathises of the story. Relatively unknown Norman Bowman who is excellent as Sky and Louise Dearman as Sarah Brown have the unenviable task of playing the leads while “names” play the secondary characters. For me personally this just does not work. I would have preferred Sky and Sarah to be played by recognised names, if not all four parts. Each actor is excellent in their role but I felt the casting just makes the show overall slightly uneven.
However this is a first class production, it looks good, sounds good, the
cast sing and dance a storm and gives us almost three hours of first class
entertainment. It is great to see a touring production that delivers everything
the West End original did ( and still does) rather than a watered down version
trading on the originals name.
Woman in Black
Theatre Royal
Monday Feb 5th to Sat 10th
This production is a classic ghost story which has been playing in London since 1989 and shows no sign of closing such is its popularity.
Based on the novel by Susan Hill and adapted by Stephen Mallatratt, the story of a Woman in Black revolves around Arthur Kipps who wants to exorcise the demons that have plagued his mind for years. He has been haunted by the events he experienced when dealing with the estate of an old lady and believes the only way to get rid of the nightmares he suffers due to this is to tell his family and friends. But as his story telling skills leave a lot to be desired he enlists the help of an actor, so his audience will not be bored. Meeting at an empty theatre the men work on Kipps story until they feel he is ready to face his audience, but by this time, we, the actual audience in the theatre are spell bound, hanging on to every word of the plot as it unfolds.
Robert Demeger as Mr Kipps and Mark Healy as the actor, are consummate professional actors who have played their roles previously in the West End and on tour. Despite this being a well crafted piece of theatre it is their acting skills that keep you mesmerised from the start.
While Mark Healey, as the actor, tells the story through the eyes of Kipps as he attends the funeral, it is Robert Demeger who plays almost all of the other roles as the story unfolds, switching from character to character with ease. They take us on a journey from the empty theatre to a village where Kipps has to sort out the old ladys affairs.But while in the village he faces the Woman in Black and his life changes forever.
Through dramatic lighting, special effects and great story telling the twist
and turns of a Woman in Black holds its audience until the last terrifying
secret in the tale is revealed. Audiences have been held in the grip of the
Woman in Black for many years and she shows no sign of letting them go in
the near future.
The Enchanted Pig
Northern Stage Jan 31st to Feb 3rd
A Swill Time Had By All!
****
The Enchanted Pig is based on a Romanian folk tale, but presented by the first Young Vic and Opera Group co-operation so we actually have a sung through opera for children, that has received rave notices and excellent word of mouth comments while playing its London season. Northern Stage happens to be the first venue on its brief tour.
We have a colourful story which is very well presented and holds childrens attention from the start. With this being an opera that is no simple task but the 5 and 6 years olds we took were hooked from the off and were still laughing at, and repeating, some of the opening lines from the show, long after we returned home.
The story is a simple beauty and beast tale with the King asking his daughters not to enter one of the rooms in the castle when he is away, which of course they do. When entering they learn who they will marry, but unfortunately the youngest daughter (Flora) finds she is to marry a pig. When the King returns they quickly find out that fate indeed means Flora will marry a pig.
But as in all good fairy tales, the pig turns in to a prince at night. However until the princess can love him unconditionally, he is unable to remain a prince during the day. Unfortunately before that can happen the pig is captured and held against his destined to marry someone else.
But where there’s a swill, there’s a way! So the princess sets off to find the pig, visiting the sun, moon and north wind as well as wearing out three pairs of metal shoes along the way.
You know from the start that the princess will win out in the end and bring home the bacon by proving her love to the pig, but it is fun getting there. There are no happy clappy songs here, with only Mr and Mrs North Wind having a light hearted musical number. But the songs are cleaver and drive the story forward.
The attention to detail is excellent, for example when Flora is searching for the pig, her white dress gets dirtier and dirtier with each scene. The small cast work exceptionally hard on the first rate revolving set designed by Dick Bird.
This show is not your average family show, it is a classy first rate production
that deserves the praise that it has already received.
Vagina Monologues
Theatre Royal
Jan 29th to Feb 3rd
The Vagina Monologues by Eve Ensler has toured extensively and played in London as well as starred almost every major actress, female television personality and comedienne ranging from Honor Blackman to Sharon Osbourne.
On this tour we have Rhona Cameron (I’m a Celebrity-Get Me Out Of Here) Sue Holderness (Marlene from Only Fools and Horses) and Natalie Cassidy (Sonia from Eastenders) who was making her stage debut at the Theatre Royal (timed nicely as she on screen is preparing to leave the soap after wrong being accused of murdering Pauline)
Based on over 200 interviews from around the world this production is simply staged, the three women sit side by side dressed in black and take it in turn to recount stories ranging from sad to horrific but in the main funny.
The few men that braved the show were rewarded with a round of applause as this is a show by women, about women, for women.
At times, due to the subject matter, this show is uncomfortable and thought
provoking, but at others side splittingly funny, this tour proves that another
tour of the Vagina Monologues is already finding an audience.
Joseph and the Amazing Technicolor Dreamcoat
Sunderland Empire
January 29th to February 3rd
Matinees and Evening Performances daily (Sat 3 shows)
You know the audience are wanting to enjoy themselves at this show, as the majority already know the words and music off by heart (as it is unlikely that many people have not either played in a school version of this show or watched friends and family perform in it).
Of course, the story of the musical Joseph and the Amazing Technicolor Dreamcoat is virtually as well known as the story itself. Tim Rice and Andrew Lloyd Webbesr first version of the show was a 15 minute school production; afterwards it was extended until it has become the hit musical we all know today.
The musical tells the story of Joseph, who is sold as a slave by his jealous brothers. While his Father (Jacob) believes he is dead, his favourite son is actually reading dreams and soon becomes Pharaohs right hand man. When the brothers are so hungry they have to ask for food they fail to realise it is Joseph they are asking and he takes the opportunity to plant his favourite golden cup on Benjamin. When the brothers protest Benjamin’s innocence Joseph reveals his true identity and is reunited with his Father.
For two hours we clap along and listen to those songs we know so well, including Any Dream Will Do and Any Dream Will Do
In this tour we have Jonathan Parkin playing Joseph and it is hard to imagine that this is his professional theatre debut as he makes the role his own and stops the show with his powerful version of Close Every Door. By the audience reaction at the curtain call it was very clear everyone recognised they had witnessed a star in the making.
This production, produced and directed by Bill Kenwright delivers pure family entertainment and judging on the reaction of last nights audience will continue to do so for a long time yet.
Coppelia
Sunderland Empire
25th – 27th January
The Russian Classical Ballet Theatre present their second offering at the Empire in the week to another full house. Coppelia is one of the oldest popular ballets (1870) comedic and with a happy ending.
Coppelius the toymaker/magician (Igor Gherchiu) is the talk of the village and Franz (Alexei Terentiev) is captivated by his daughter’s Coppelia’s beauty. Swanilda (Kristina Terentieva) the previous love interest in Franz’s life is none too happy about this development and with her friends enters into the toymakers workshop. There they wind-up the dolls and much to Swanilda’s delight discover that Coppelia is also a doll. Frantz appears on the scene and is caught by the toymaker and drugged. His plan is to take the life from him and transfer it to Coppelia. Swanilda realises what is happening and swaps places with the doll – thus saving Frantz life. The final act has the wedding and dancing in the village square, even the toymaker is happy as he is compensated for his troubles.
The conductor Svetlana Popova energetically brought the music of Leo Delibes (made popular by the BA TV ad in 1990) to life as his familiar melodic score wooed a receptive audience. Tchaikovsky rated the music for Coppelia as better than his own for Swan Lake and few could argue it is anyway inferior.
The opening set and costumes had a charming rustic feel to them and the workshop was hauntingly lit and had you wondering which dolls were real and which weren’t. The principal dancers are married to each other and they certainly share an extraordinary talent and athletic ability. This is a charming ballet performance easy on the eye and ear and a very pleasant evening out.
Swan Lake
Sunderland Empire
23rd – 25th January
The Russian Classical Ballet Theatre premiered Swan Lake last night to a packed audience in Sunderland.
Swan Lake is one of ballet's most famous works with some of Tchaikovsky’s best known music, played superbly by the live orchestra conducted by Svetlana Popova. The opening scene is Prince Siegfried's (Vladimir Statnii) coming of age party and his mother gives him a crossbow and challenges him to find a wife! His father the king arrives escorting a nine year old local girl Cloe Clarke who had her dream come true through the Make-A-Wish Foundation. Cloe lives with a live threatening illness and occupied pride of place next to the king for the party in Act One. After the party and finding himself alone Prince Siegfried goes hunting swans. The evil magician Rothbart (Ghenadi Badika) keeps beautiful women trapped as swans on the lake - but by night they resume human form. Siegfried sees the swans that he had planned to kill come to life in a beautiful form and immediately falls for Odette, a Princess and one of the Swans. She explains their plight to Siegfried and says the spell can only be broken by someone who'll marry her. He swears to do so but day comes and she returns to being a swan. Siegfried returns to the palace where Rothbart arrives with his daughter Odile who Siegfried is immediately attracted to and on impulse Siegfried agrees to marry her. Almost immediately he realises his mistake and leaves Odile to seek out Odette to ask her forgiveness. Unlike the ‘On Ice’ production of last year this one does not have the happy ending and Odette and Siegfried die in each others arms. However Rothbart’s spell is now broken and his death heralds release for the remaining Swans.
The highlight for me in this production was the near perfect and stunning Dance of the Cygnets, far better then the BBC’s production the night before. Stanii as Siegfried excelled with power and grace and Nadezhda Schepachiova.as Odette and Odile complemented Stanii beautifully. The clown (Evgheni Tkah) is also worthy of a mention bringing humour with strong dancing throughout his performance. One lady left the theatre in tears so moved was she by the excellent opening night.
Russian State Ballet of Siberia
Theatre Royal Newcastle
From Jan 21st
Sleeping Beauty
Swan Lake
The Nutcracker
Just as Jack and the Beanstalk said goodbye to Newcastle (after the smash hit panto) another childrens classic arrives in the guise of Sleeping Beauty. But the tales are from very different genre, as the madcap panto gives way to classical ballet, yet both kept children spellbound for two hours.
The classic story of Sleeping Beauty is simple, baby Princess Aurora is being presented to the royal court but the King has forgotten to invite evil fairy Carabosse. However she turns up and places a spell on Aurora. On her sixteenth birthday Aurora pricks her finger and the whole royal palace falls asleep fro 100 years. It is left to Prince Desire to find Aurora, still sleeping, but when he kisses her the palace starts to wake allowing the wedding of the Price and Princess to be our finale.
This production will captivate audiences of all ages for its colour, costumes, familiar story and music. However the set design is simple and I did expect more scenery than a few simple backcloths, which did spoil the overall effect.
Anna Aulle danced the role of Princess Aurora with Alexander Butrimovich as Prince Desire, while full praise must be given to Dermid Zykov, who danced a storm (never has a walking stick and cape been placed to such effective use) as the evil Carabosse.
This production is the curtain raiser to the week and judging by the capacity
audience reaction last night the Russian Ballet of Siberia are in for a very
successful run
Jack and the Beanstalk
Theatre Royal
Playing now until January 20th 2007
This Giant of a panto kills off all competition!
The main cast of last years highly successful production of Cinderella have returned with this fresh, lively, colourful and entertaining production and deserve to smash all booking records at the Theatre Royal. It appeared to be a tall order to beat last years first rate production, but they have done it!
Jill Halfpenny dances and sings her way through the show as Mother Nature who is watching over the hapless Jack (Danny Adams) as he has to kill the giant before marrying the princess.
With the comedy routines being left once again in the capable hands of father and son team Clive Webb and Danny Adams we are treated to boxing matches, plate smashing, fire juggling and humour that is aimed at both the children and adults.
Meanwhile Craig Conway (real life fiancé of Jill Halfpenny) is the wicked “snot grobbler” henchman for the giant and he does not leave any nasty stone unturned as he goes after Jack. Although the opening sequence, where he flies accompanied by special lighting, dried ice and sound effects was too intense for some of the younger audience members, so be prepared.
Brian Godfrey plays this years dame, but as the other leads are so strong, apart from wearing a different costume at each entrance, there appears little for him to do and he is under used.
There is no communal sing song, sweets being thrown in to the audience or children being asked to go on stage, but the pace is so frantic there is no time to do so. My five year old daughter screamed, shouted, laughed and booed her way through the production, once she had uncovered her eyes from the frightening opening sequence
Michael Harrison , producer, director and writer of both, last years show and this production, has delivered a production that does not depend on the success of last year to sell seats, it is a winner in its own right.
References to local landmarks, a cow called Shearer and plenty of Geordie humour make this a panto that deserves full houses for the rest of its run.
If you do not enjoy this production you must see a doctor!
Joseph and the Amazing Technicolor Dreamcoat
Whitley Bay Playhouse
December 11th to 16th
Matinees and Evening Performances daily (Sat 3 shows)
The story of the musical Joseph and the Amazing Technicolor Dreamcoat is virtually as well known as the story itself. Tim Rice and Andrew Lloyd Webber wrote the first version of the show as a short school production; afterwards it was extended until it has become the hit musical we all know today, with songs such as Any Dream Will Do and a Pharaoh who dresses and sings as Elvis.
The musical tells the story of Joseph, who is sold as a slave by his jealous brothers. While his Father (Jacob) believes he is dead, his favourite son is actually reading dreams and soon becomes Pharaohs right hand man. When the brothers are so hungry they have to ask for food they fail to realise it is Joseph they are asking and he takes the opportunity to plant his favourite golden cup on Benjamin. When the brothers protest Benjamin’s innocence Joseph reveals his true identity and is reunited with his Father.
The show is virtually a concert with basic scenery being used to support the musical numbers that drive the story forward (the exception being the London Palladium production a few years ago starring Jason Donovan and later Philip Schofield). The stage is simply set with two sets of steps on which the choir (of local school children) sit, while the action takes place above and below them.
The cast of young energetic performers never give less than 100% to each song and dance routine and their efforts are rewarded during the finale when the audience, both young and old, are literally dancing in aisles.
The main two characters in the musical are Joseph played by Richard Meek, who while maybe not looking like your stereo-typical Joseph, has a great voice, who comes in to his own during the number Close Every Door. While Hannah Grover, as the Narrator, interacts with the children extremely well and at one point stops the show with her powerful singing.
This Bill Kenwright, produced and directed, version of Joseph is a full blown family musical which delivers on all fronts and will justifiably have capacity audiences demanding more all this week.
At the curtain call Richard Meek asked the audience to contribute to the
Playhouse restoration fund as they left the building. If the Playhouse delivers
more professional shows like this, there should be no lack of people willing
to dig deep in their pockets to ensure quality family entertainment still
comes to Whitley Bay.
Scrooge (The Musical)
Sunderland Empire
Dec 5th to Jan 13th
****
Barrymore sleighs ‘em in the aisles this Christmas as Scrooge
The Leslie Bricusse musical Scrooge (based on A Christmas Carol by Charles
Dickens) has been made in to a feature film and toured extensively for the
last few years, so it is a tried and tested show. But the production playing
at the Sunderland Empire has an extra quality as it is direct from the London
Palladium where it played last Christmas.
The musical tells the story of Ebenezer Scrooge the very miserly boss to his
employee Bob Cratchit, who has a disabled son Tiny Tim. Infact Scrooge likes
no one but himself until one Christmas Eve the ghost of his former business
partner Jacob Marley, complete with chains, visits him. He is warned that
he has to change his ways and the Ghost of Christmas Past, Present and Future
will all be paying Scrooge a visit during the night.
With a smattering of special effects the ghosts arrive each showing Scrooge
the error of his ways and we even see how his obsession for work lost him
his one true love of his life years before, while the ghost of Christmas past
turns out to be his deceased sister trying to change his character.
Finally Scrooge realises (just in time for Christmas day) that it is better
to love life and the people around you rather than sit alone hating everything
and everyone.
The musical score is very strong and includes “happy clappy” feel
good songs that set the toes tapping and include “ Thank you very much”
and “I like life”
Some of the effects may be too intense for small children especially the arrival
of Marley and the Ghost of Christmas Yet to Come, but over all this is a first
class family feel good show that deserves to be a hit over the festive period.
While the cast work extremely hard and give 100% at all times, it is the star
of the show Michael Barrymore who holds the production together which he does
to perfection. There is no getting away from the fact that this is Barrymore’s
return to a starring role in live theatre after events over the past few years
removed him from being Britains favourite entertainer, and the press coverage
last weekend can only have made life even harder for him to walk on stage
at each performance. But there is no getting away from the facts and that
is from his first entrance until the curtain falls he gives 110% at all times
and makes the part his own.
Scrooge is an ideal Christmas show and an alternate to pantomimes with a great
score, first class scenery, excellent cast and a leading man that is proving
he is still able to win over the crowds and provide first class family entertainment.
The Little Price
Northern Stage
Stage 1
***** (my daughters grading of the production)
Now playing until Jan 13th (10am/2pm/7pm check with box office for performance times 0191 2305151)
The Little Prince is this years Christmas Show in the main Stage 1 (with Thumbelina playing in Stage 2) and is an adaptation of the French Childrens book by Antoine de Saint Exupery.
The story features the Little Prince (Sophie Trott) who is a little boy from a far away planet who captures the heart and dreams of a pilot (Markus Von Lingen) who crashes his plane in the Sahara desert. As the pilot tries to repair the plane he is repeatedly interrupted by the boy who tells him stories and over time the pilot remembers his youth. (The bases behind the story is that children see the important things in life much more clearly than adults)
Northern Stage have presented this production on a massive set that has a life-size plane and rolling sand dunes, which hide a lot of surprises as the story unfolds.
This production is not a panto for the Christmas season neither does it have a any happy clappy songs to keep the story moving along. The only audience participation is during the first half when the cast come into the audience carry very larges items , such as a tin of baked beans, bottle of Newcastle Brown Ale and model of the Tyne Bridge, between the seats and you have to move to let them squeeze past. The humour is left to the fox (Peter Peverley) who plays one scene with the Little Prince apart from that it is almost a straight play.
But this is where the magic comes in, as Northern Stage allowed us to take up to two children on Press Night I took my daughters (one five and a half, the other almost seven) and they were held transfixed from the start until the end just over two hours later. Other children were similarly spell bound by the characters the Little Prince meets on his journey and there were no “trips to the toilet” by any of the audience that I could see, which always is a sign of boredom and we even had sweets left over to take home as the girls had been distracted enough to forget about their sweets.
This is a very different production for Christmas and a bold move by Northern
Stage as you associated Christmas family shows as light hearted pantomime
style productions and this could not be farther removed from that, but it
works. I must admit that had I not taken children with me my review would
have been very different as the story failed to hold me. But any production
that can hold childrens attention and their imagination in the way the Little
Prince did deserves all the praise it can get.
Swan Lake on Ice
Sunderland Empire.
Nov 21st to 25th
Let’s say at the outset what this is: Staggeringly beautiful!
In its 99 year history Sunderland Empire has flirted with ice shows, and in the 90’s decided that the stage size could never do a professional skater justice and audiences had begun to vote with their feet, preferring instead to visit the bigger arenas. After the Sunderland Empire’s stage was enlarged they decided to risk hosting ‘Sleeping Beauty on Ice’ - it was a spectacular success. We knew then that another ice show would be on its way and although the wait has been over a year it has been worth waiting for.
The 25 skaters are in effect the Russian Olympic Ice Skating Team. The Prince, Vadim Yarkov for example has won 16 gold medals, 20 silver and 9 bronze in the USSR team. Odette, Olga Sharutenko, probably the most famous name as Russia’s premier woman figure skater for years would need another truck if her trophy cabinet was to accompany the tour.
The dancing was graceful, breathtaking, daring and spectacular. Wonderfully created none of the ‘stunts’ jarred with the performance and use of stilt skaters, fire on the ice and flying swans gave the show a wow factor.
The set designer Eamon D’Arcy was the production designer for the Opening Ceremony of the Sydney Olympics in 2000, as well as Sleeping Beauty on Ice. The stunning set and lighting adds professionalism to the show that take the traditional story of Swan Lake through the turbulence of love gained, lost and regained. There may not be a ready regional audience for the narrow art of skating on stage but this show would appeal to all lovers of dance of all ages. The music, although piped, has been especially recorded for the show and is excellent.
I hope the tour receives the support it deserves and that we see many happy returns from the Imperial Ice Stars.
Review by Stephen Taylor
THE TEMPEST
Theatre Royal 21st -25th Nov
The Tempest brings to a close this years RSC season in Newcastle and is one of only two Shakespeare plays where the action takes place in a single location over one day (the other being The Comedy of Errors)
The play opens with a dramatic storm at sea, before we are introduced to Prospero who has been banished to a remote island with his daughter Miranda for twelve years by his brother. The island was once ruled by a witch, Sycorax, but is now inhabited by her son Caliban who Prospero enlisted as a student while releasing Ariel, a powerful spirit who becomes his salve, who had been imprisoned by Sycorax before she died.
Prospero orders Ariel to raise up a storm to ensure the ship he has seen in the distance, containing those who conspired against him years before are shipwrecked .Therefore leaving his to have his revenge.
However after the dramatic storm opening it is disappointing to see the rest of the action takes place on a relatively bare stage, with minimalist settings.
This Prospero, played by Patrick Stewart (X-Men, Star Trek : The Next Generation) is a very cold and some what withdrawn character. However all the acting plaudits on this occasion must go to Julian Bleach who plays Ariel. When he is on stage you watch him all the time as he slowly moves. His make up is at times reminiscent of “Jack Frost” and the slight echo given to his voice makes his character all the more menacing.
I fear that without Bleach as Ariel this production would certainly suffer.
CHICAGO
Sunderland Empire
7th to 18th of November
The Kander and Ebb smash hit musical CHICAGO is playing in London after 9 years while the 3rd national tour is underway and stops off in Sunderland for two weeks.
The staging at first appears basic with a bare black front stage area for the cast to perform on while the orchestra are encased in a gold frame just behind where the main action takes place. However the scenes are clearly depicted as we move swiftly from jailhouse to courthouse as the story develops, with cast often starting and ending scenes amongst the orchestra.
Telling the story of Roxie Hart, who is a nightclub singer who murders’ her lover, while her down trodden husband Amos at first takes the blame. In jail she encounters Velma Kelly a ruthless murderer who is currently attracting all the press due to her lawyer Billy Flynn, who can turn any client into a celebrity, as he does with Roxie.
This tour stars Jennifer Ellison as Roxie, a role she has played in the West End (TVs Brookside, Hells Kitchen and the film of Phantom of the Opera) while there are two main player from this area. Dawn Spence from Middlesbrough plays Velma while South Shileds born Dale Meeks (Emmerdales Simon Meredith) captures the role of Amos, Roxies husband who is ignored by everyone.
The show contains some great musical numbers and has reached a wider audience due to the recent film version, but it is on stage that you feel the energy of the cast and real style and sophistication of the Bob Fosse dance routines.
This has always been a high energy show but having seen the show several times on this occasion the dancing does not feel as tight and energetic as it has previously been. Also I am at a loss as to why Jennifer Ellison is made to wear a blond curly wig which makes her look like an adult peroxide version of Annie. This detracts from her look and performance as you watch her curls continue to bounce well after she has stopped dancing.
That having been said it is still a tremendous show that is well worth seeing,
with all the cast executing there roles extremely well
The Wolves on the Walls
Northern Stage
October 17th to 21st
****
It is not often that a stage show, especially for children, lives up to the marketing hype but on this occasion The Wolves in the Walls achieves exactly that. It also keeps the adults happy as well which is even better.
Originally a picture book by Neil Gaiman with illustrations by Dave McKean the story has been brought to life by Improbable and the National Theatre of Scotland. Co-directors Vicky Featherstone and Julian Crouch have brought to life the story of Lucy who lives with her Mum, Dad and her brother. She hears noises in the walls which she is adamant are wolves but her family tell her otherwise, unfortunately Lucy is right.
The production is told mainly by songs, which is where the one small downside comes in, as the four piece band on occasions annoyingly drown out the singers. The wolves are a mixture of puppets and actors which work extremely well.
For children there is the right amount of scary material, mainly before we see the wolves as Lucy is in bed listening to the noises, which is balanced with comedy including a wolf on a two wheeled scooter dressed as little red riding hood! But importantly it also stretches the imagination with a very cleverly designed set and projected images.
The show runs without an interval for just over an hour, so children cannot be board and maintain their interest, right up to the surprise ending.
This is the first time this production has been seen outside London and Scotland
and hopefully Northern Stage will ensure that they have plenty of family entertainment
of this calibre in the future, as this is an ideal early introduction for
children to the theatre.
Tue 17 Oct & 18th Stravinsky Triple Bill
Sunderland Empire
The Birmingham Royal Ballet arrived in Sunderland hot on the heals of arguably the best TV series of the year ‘Ballet Changed My Life’. The cast, the staff and the programme notes are buzzing with that electrifying performance at the Hippodrome just a few weeks ago and the whole experience of discovering one way of changing not just one young person’s life but nearly two hundred.
This high risk strategy of using Kenneth MacMillan’s Romeo and Juliet as a vehicle to bring the demands of ballet with all its inherent fitness requirements, training and rehearsals to bear upon Birmingham’s most troublesome teens was not conventional wisdom by any stretch of the imagination. But successful it was with most of them re-engaged with their formal education and some are exploring dance related employment.
One might have thought that a tour immediately after this experiment might have struggled to maintain the highs of recent weeks – and a triple bill again starting their visit to the Empire carrys three times the risk. If you can say of ballet that a triple whammy was scored last night it would not be an exaggeration. The strong musical score from Ivor Stravinsky linked Apollo, Pulcinella and The Firebird together.
The opening ballet 'Apollo' was beautiful in its simplicity. Six dancers, sharp lighting and simple set tell the story of Apollo’s birth and journey through Olympus to Parnassus. He encounters the Muses of epic poetry, song and mime and dance who he leads to the mountain. Chi Cao dances exquisitely interpreting Aplollo’s birth, to led to leader in the shortest of the productions at just over half an hour.
My daughter’s favourite was 'Pulcinella', a romantic comedy of classic characters; the loveable fool and the arrogant master, protective of his eligible daughters. A lively dance which has been worked on and improvised over the production period into a powerful piece which is enhanced by the masterful dancing of Robert Parker in the lead role. This modern ballet successfully uses clever costumes designed by Kandis Cook to convey poor people trying to be grand which underlines the theme of the grand people behaving poorly and visa versa. A very pleasing piece.
All three ballets have a wow factor which isn’t always the case with triple bills. The biggest wow however most go to The Firebird. The simple innocence of the firebird’s dance opens the scene and Noa Sakuma dances superbly throughout, before long the music transforms us and the majestic score is delivered by an accomplished and enlarged orchestra. The story unfolds and the set and characters and music fill the stage and the theatre to a most amazing and extravagant finale. This is the first time the BRB have toured The Firebird and it was ambiti