JACKIE THE MUSICAL

Malvern Festival Theatre

(Gardyne Theatre & Arden Entertainment in association with DC Thomson & Co Ltd)

Janet Dibley as Jackie

Never have I seen so many confident, beautiful, middle-aged women in Malvern Theatres at one time. This substantial number of empowered individuals was testimony to the influence of one magazine for a generation in the 1970s. Jackie The Musical is the most wonderful tribute to an era that seems so far removed from the world we live in today. The two hour immersion in seventies nostalgia is as joyous as it is delightfully familiar. With a soundtrack as vibrant as the fabric patterns, it is a truly indulgent trip down memory lane. The pre-show buzz in the foyer was electric and the show did not disappoint.

The story centres around 54 year old, divorcee, Jackie, who discovers her stash of Jackie magazines while packing up the once family home. Thrust back into the dating game, she is joined by her younger self, who supports and guides her with the quizzes, fashion tips, first date etiquette and problem page advice, steadfastly provided in her teenage years by the weekly publication. However, life has moved on and the world isn’t as it used to be. A teenage son, ex-husband, online dating, texting and comforting mix of Prosecco and sticky toffee pudding present Jackie with dilemmas that even Cathy and Claire would struggle to cope with.

This musical is the perfect example of what can be achieved when the right creative team collaborate on a project. Mike James provides a brilliant script, one that far surpasses the likes of similar shows, such as Mamma Mia. It is beautifully crafted and very, very clever in how it merges the two eras and handles the gender stereotypes, subtly challenging it at the same time as playing up to it. Anna Linstrum’s direction adds another level of magic to the writing in development of character, storytelling, stage business and direction. She clearly understands stagecraft, which is a rarity among directors nowadays. Add to this, choreography by the queen of disco, Arlene Phillips, with Jim Shortall’s stunning set design and gorgeous costumes and the production is a hit. Musical director, Dan De Cruz, and his awesome band provide the cherry on the top of an impressive, glitter ball shaped cake.

Daisy Steere as Young Jackie

Hats off to someone who doesn’t often get a mention in reviews, if ever, casting director, Debbie O’Brien. The casting for this show is excellent, with every single performer bringing something unique to the overall presentation. Everyone’s energy, focus and commitment from the swings to the principals are spot on, without exception. The performances are slick, polished and delivered with amazing vitality and enthusiasm throughout both acts. Jackie The Musical is fully deserving of the many accolades it is receiving and is an absolute must see. An unquestionably triumphant 5 star celebration of all that was great about Jackie and the seventies!

5 stars

AFTER MISS JULIE

Malvern Festival Theatre

(Theatre Royal Bath Productions)

Helen George as Miss Julie

Star of BBC’s Call The Midwife and Strictly Come Dancing, Helen George, is disturbingly brilliant in the eponymous role of Patrick Marber’s play After Miss Julie. A life of privilege has left Miss Julie bereft of any sense of self, as she struggles for identity in a time of huge social change at the end of the 2^nd World War. A juxtaposed product of her father’s thoughts and her mother’s feelings, she is confused and desperate to be loved. On a night of celebration for the Labour landslide victory, she focuses her attentions on the self-assured chauffeur. A class driven power struggle ensues with an innocent third party getting caught in the crossfire.  At its heart, this is a story of volatile co-dependency fuelled by fear, insecurity and desire for recognition.

Marber’s script is disjointed and requires immense emotional dexterity from the three actors. George absolutely nails it, as the aristocratic ticking time bomb, Miss Julie. Equally impressive is Amy Cudden’s performance as the devoted Christine and although Richard Flood, as her intended, John, doesn’t quiet convince in his more tender moments, his arrogance and anger are spot on. On the whole, Anthony Banks’ direction is good but there are times that the dialogue and action lack the right intention. Some of the staging is ineffective too, in particular the stage slaps, which are poorly masked and don’t have the desired impact, despite the actors delivering them perfectly. Colin Richmond has produced the most stunning set, which is magically transformed over the course of the action with Philip Gladwell’s inspired lighting design.

This one act play is a real emotional rollercoaster and is captivating as the subject matter is uncomfortable. This is definitely one to see and runs at Malvern Theatres until Saturday before continuing the last leg of the tour in Brighton, Richmond and Milton Keynes.

4 stars