CABARET TOUR 2017

Malvern Festival Theatre

(Bill Kenwright Productions)

Will Young & Louise Rednapp

“The girls are beautiful. The boys are beautiful. Even the orchestra are beautiful.” Life Is A Cabaret at Malvern Festival Theatre this week with pop superstars, Will Young and Louise Rednapp headlining the show.

Kander and Ebb’s musical is set in Berlin, during 1931, at the beginning of Hitler’s rise to power. Sally Bowles, an educated girl from Chelsea, is working as a cabaret performer in the infamous Kit Kat club, a hedonist’s paradise, when an American novelist fortuitously arrives on the day she is sacked. They get swept up in the decedent rhythms of the German capital at a time of huge political upheaval and change.

Rufus Norris’ direction is suitably dark and he utilises the wonderfully adaptable set designed by Katrina Lindsay. Javier De Frutos’ choreography is incredibly physical, requiring an immense level of skill and trust from the dancers. The ensemble are fully committed throughout and their focus is unwavering.

Will Young is wonderfully grotesque as the Emcee and clearly revels in his role. He obviously delivers vocally with the classics ‘Wilkommen’ and ‘The Money Song’. While Louise Rednapp’s lack of experience as an actress shows, her skill as a singer shines through with ‘Mein Herr’ and ‘Maybe This Time’. She delivers a perfectly clipped Chelsea accent too. Susan Penhaligon and Linal Haft enchant the audience as the twilight lovers Fräulein Schneider and Herr Schultz and Basienka Blake is striking as ‘a lady of the night’, Fräulein Kost. Her rendition of ‘Tomorrow Belongs To Me’ is as haunting as the Emcee’s version is disturbing. Charles Hagerty gives a truly superb performance as the novelist, Clifford. The authenticity will which he portrays his character is faultless and captivating. An interpretation that is worthy of top billing.

This is a sell out at Malvern Festival Theatre but is definitely worth trying to obtain returns. If you already have tickets, then you are in for a great night.

HAIRSPRAY 2017 TOUR

Birmingham Hippodrome

(Mark Goucher Ltd)

It's 5 star fabulousness at the Birmingham Hippodrome this week with a sparkling new production of Hairspray.

The most phenomenal talent has been brought together to wow audiences with this bubbly, feel good musical about a girl, from Baltimore, who dreams of a better world for all, no matter what shape, size or colour you happen to be.

Making her professional debut, in the lead role of Tracy Turnblad, is Rebecca Mendoza, who shines bright along side the seasoned pros with her powerful vocals, hilarious characterisation and boundless energy. Matt Rixon is absolutely perfect as Edna and Norman Pace is adorable as Wilbur. They charm the audience as Tracy’s parents with their comical, yet endearing, duet, ‘Timeless To Me’. The Turnblads are just an average American family, until they are thrust into the limelight when Tracy auditions for a TV show and ends up becoming an activist for equal rights.

Gina Murray and Aimee Moore are wonderfully dislikable as the scheming mother and daughter team, Velma and Amber Von Tussle, who are determined to scupper Tracy’s plans. Luckily she has TV show host, Corny Collins, on her side, played by the devilishly handsome, Jon Tsouras, whose performance is as cheerful as his suits. Annalise Liard-Bailey, with her amazing vocals, is at Tracy’s side as her best friend, Penny Pingleton, who falls for the exotic moves of Seaweed, perfectly executed by the very flexible, Layton Williams. Edward Chitticks is lovely as Tracy’s unexpected love interest Link Larkin, while the incredible Brenda Edwards gives the most awe inspiring performance as Motormouth Maybelle.

The ensemble also ooze with talent, each and every one proving their metal from beginning to end. Local lad, Drew McOnie, provides the cast with exquisite choreography, which they present with precision and unwavering energy. Director, Paul Kerryson, brings a gritty freshness to the script, keeping focus on the story and its message and although Takis’ set design seems clumsy and distracting, at times, his new costume design is simply stunning! Musical Director, Ben Atkinson, and his band are faultless, with their accompaniment of this memorable score.

The casting of this new production is absolutely superb and is certainly what makes this tour of Hairspray the best yet! Make sure you get to see it! It runs in Birmingham until Saturday before continuing on to other venues until June next year.

5 stars

OUR HOUSE

Malvern Festival Theatre

(Immersion Theatre Company & Damien Tracey Productions)

It’s total Madness at Malvern Festival Theatre all this week with the Olivier Award winning musical, Our House. Written by Tim Firth, the genius behind Calendar Girls and Kinky Boots, it tells the story of local lad, Joe Casey, who gets into trouble on the night of his 16^th birthday, while trying to impress his girlfriend, Sarah. In a ‘Sliding Doors’ moment, Joe has to decide whether to run from the police or give himself up. Both outcomes are then played out, simultaneously, to discover the impact of his decision and where each road will eventually lead.

Jason Kajdi is superb as Joe Casey. His task is immense in this show, constantly switching between the two Joes, in the parallel lives. Sophie Matthew is captivating as the girlfriend, Sarah, making the part refreshingly engaging. Billy Roberts and Will Haswell are the perfect double act as Joe’s best mates, Emmo and Lewis, while Jessica Niles and Etisyai Philip are electric as Sarah’s sassy, opinionated friends. Emmerdale’s Deena Payne, is lovely as Joe’s mum and Britain’s Got Talent winner, George Sampson, is enjoyable as bad boy, Reecey. In the role of Joe’s dad is Callum McArdle, who has the most wonderful voice, ideal for the Madness melodies. Bobby Windebank is great as the egocentric Mr Pressman, as too is Matthew McDonald as Sarah's love interest, Callum.

The ensemble is magnificent in this production. Their energy and enthusiasm is contagious and when the cast are performing Fabian Aloise’s absolutely stunning choreography, the result is truly awesome. Baggy Trousers is phenomenal and Wings Of A Dove simply divine, beautifully accompanied by Dustin Conrad and his band.

This is a real feel good musical with a brilliant score that will reignite your love for the greatness that is Madness. It runs at Malvern until Saturday, before continuing on tour. go and see it!

5 stars

SHIRELY VALENTINE

Malvern Festival Theatre

(Adam Spiegel Productions)

Jodie Prenger as Shirley Valentine

Shirley Valentine is the story of a 42 year old wife, with two grown up kids, who, one day, decides to go to Greece for a holiday. Perhaps not the most exciting plot but for Shirley, this is more than just a jaunt to the Mediterranean. For Shirley Bradshaw, nee Valentine, this is about finding herself. This is about reclaiming the bravery of her younger self who used to jump off the roof of her house for fun. This is about not accepting the drudgery of her existence any more. This is about honouring the huge amount of life that she hasn't lived. This is about being the Shirley Valentine she always wanted to be!

Penned by the hugely inspiring Willy Russell (Blood Brothers, Educating Rita) the play is set in Liverpool and brilliantly explores the sad truth of unfulfilled potential and the stark reality of a life half lived. Through the loveable character of Shirley Valentine, he lays bare the mid life crisis, showing how easily it is to become trapped in routine and the safety of our comfort zone, until the fear of everything staying the same is more scary than the fear of the unknown.

Jodie Prenger, who was last at Malvern in the guise of all singing and dancing, gun touting, Calamity Jane, takes on this epic, eponymous role. Fans of the film, starring Pauline Collins and Tom Conti, may be surprised to find that the play is a one woman show. It is a two hour monologue with the first half taking place in Shirley’s kitchen and the second half on a beach in Greece. All of the characters are there, but narrated by the protagonist of the story. Prenger is superb in the role and takes the audience on a truly emotional rollercoaster. Her focus and delivery throughout is magnificent, particularly in act one as she shares the character's inner most thoughts and feelings, discussing the events that lead up to the great escape, while cooking egg and chips for husband, Joe, for when he gets in from work. Make sure you eat before you go. Otherwise, you’ll be ravenous by the interval.

Glen Walford has done a great job directing the action to look ordinary and mundane and not detract from the storytelling. In reality it must have taken forever to choreograph the preparing of dinner. The direction throughout is unobtrusive and flows well, utilising Amy Yardley’ set design, that received a round of applause when the curtain rose for act two, or perhaps it was recognition that Ms Valentine had made it to Greece.

Although extremely moving, this is a very funny script and Prenger’s delivery maximises the laughs. Her standing ovation was well deserved and I'm sure everyone in the auditorium connected with Shirley's plight in some way or another, with their own past, present or future. This is a modern classic and a must see. A great production, wonderfully executed.

5 stars

ABIGAIL'S PARTY

Malvern Festival Theatre

(Theatre Royal Bath Productions)

Forty years ago, Abigail had a party and the nation was introduced to Beverley, a sultry, middle class, suburban housewife with a love of gin and tonic, cigarettes and Demis Roussos. Bev, aided by husband Laurence, decides to hold a soirée, inviting Abigail’s mother, Sue, and the new neighbours Ange and Tony. With cheese and pineapple on sticks, peanuts, crisps and even olives what could possibly go wrong? But, as the alcohol flows and the party next door gets louder, tensions rise, escalating into arguments with dire consequences.

Created by award winning writer and director, Mike Leigh, Abigail’s Party is one of his many distressingly real dramas. The last time this play was at Malvern Theatres, he was in the audience and had just won an Oscar for Topsy Turvy. I had the honour of chatting with him in the interval. He was humble, unassuming and one of the nicest people I’ve ever had the pleasure to meet.

Janet Bird’s inspired set design is the first morsel of brilliance. On entering the theatre you find yourself in the street, outside Bev and Laurence’s house, with its huge front window proudly framing the epitome of 1970’s chic, while our hostess titivates. Ginny Schiller’s casting is perfect and gives this production its own identity while remaining loyal to the iconic screenplay. Amanda Abbington firmly establishes her character, Bev, in the opening sequence as she dances to Donna Summer’s Love To Love You Baby and is brilliant throughout as the narcissist of the piece. Ben Caplan is excellent as her over worked, brow beaten husband, Laurence, expertly switching personas as he struggles to suppress his frustrations. Charlotte Mills oozes energy and optimism, as Ange, superbly compensating for her less than enthusiastic husband, Tony, played by the moody, but handsome, Ciarán Owens. Finally, Rose Keegan is wonderfully funny as the distracted, slightly awkward, Sue.

Sarah Esdaile, directs an engaging piece of theatre which ensures the continued success of this tragic comedy. This new production of Abigail’s Party is uncomfortably hilarious and an absolute must see! It runs at Malvern until Saturday.

5 stars

GHOST THE MUSICAL

(Bill Kenwright Productions)

Malvern Festival Theatre

Andy Moss & Carolyn Maitland

The new touring production of Ghost the Musical opened to a sell out at Malvern Theatres this week. Not one ‘celebrity’ in the cast and yet the auditorium was full. This is testament to the huge impact this iconic movie, starring Patrick Swayze, Demi Moore and Whoppi Goldberg, had on the great British public nearly 27 years ago. Fans of the film will not be disappointed.

This scaled down version of the West End hit works really well as a touring show, with most of the iconic scenes remaining and the special effects perfectly adapted for the demands of different venues. Bob Tomson directs the action through Mark Bailey’s excellent stage design that moves from place to place with fluidity and ease, never halting or interrupting the flow of narrative. This is a loud musical and, as with many musicals, the sound on opening night could have been better. The volume was so high at times it was distortive. The second act, however, was much better and I don’t have any doubt that this will be resolved by the second night. Having said this, the vocals were stunning and Tim Whiting’s band is superb.

The lead character, Sam, is currently being played by the understudy Sam Ferriday, who is normally in the other lead male role of Carl. Ferriday is brilliant and very likeable. It is difficult to imagine him in the part of the baddie, who is now convincingly played by Ethan Bradshaw. One can only imagine just how difficult it must be to understudy opposite the part you usually play, let alone sing a different part in songs you usually sing. An impressive and unenviable accomplishment by Ferriday. The incredibly talented Carolyn Maitland is divine as Molly. Her performance throughout is heartbreaking and utterly captivating. Jacqui Dubois is hilarious as Oda Mae Brown and completely owns the part afforded her. A diverse ensemble play a variety of characters with notable performances from Garry Lee Netley as the Subway Ghost and James Earl Adair, who delivers the most beautiful rendition of You Gotta Let It Go as the Hospital Ghost.

The weakest element of the show is the choreography, which appears basic, unimaginative and repetitive. It is attempting to be contemporary in style but lacks content and doesn’t challenge the cast of apparently capable dancers. Dave Stewart’s and Glen Ballard’s music and lyrics aren’t a standard musical theatre format and the songs don’t stick in your head. Even though the score is easily forgettable, the story is one that really tugs on the heartstrings and the cast give a performance worthy of the standing ovations.

Ghost runs at Malvern Festival Theatre until Saturday before continuing on tour. If you are fortunate enough to have tickets, you’re in for a treat!

4 stars

NELL GWYNN

Malvern Festival Theatre

(English Touring Theatre)

Mossie Smith & Laura Pitt-Pulford

English Touring Theatre have a solid reputation for quality productions and their latest creation is no exception. Winner of the Olivier award for best comedy last year, Nell Gwynn, is a bawdy romp about an orange seller and how she captured the heart of the King of England.

Brilliantly written by Jessica Swale and superbly directed by Christopher Luscombe, the show features an impressive cast of players who exude charisma and energy, all delightful in their roles. George Jennings is endearing as the slightly awkward Ned Spigget who, at the start of the play, presents the prologue while being heckled by the audience and defended by our heroine. Equally likeable is Nicholas Bishop with his interpretation of the troubled playwright, John Dryden, while Mossie Smith and Esh Alladi provide bucket loads of laughs as the dresser, Nancy, and actor, Edward Kynaston, respectively. Ben Righton is perfect as King Charles II, presenting a gentle giant of a character with a convincingly deep affection for his unlikely mistress. In the title role is the wonderfully captivating Laura Pitt-Pulford, who never ceases to amaze with the apparent ease at which she embodies characters to charm and entertain. She plays Nell with such authenticity and vigour, sweeping you up in her story so that you really, truly care. Her ability to engage through performance is remarkable and this part affords her an incredible opportunity to showcase her seemingly endless talents.

This is an extravagant show and Hugh Durrant's opulent set, beautifully lit by Nick Richings design, allows the action to effortlessly glide from scene to scene, without interruption to the narrative. The copious amount of fabric used in each and every costume is something to behold and creating this marvellous array must have been an unenviable task for Martin de Cerjat and his team. Enhancing the historic feel to this masterpiece is a brilliant four piece band led by musical director, Emily Baines.

Nell Gwynn is a joy to behold and not to be missed! It runs at Malvern Theatres until Saturday.

5 stars

GASLIGHT

(Ambassador Theatre Group & Smith & Brant Theatricals in association with Tulchin Bartner Productions and Moya Productions)

Malvern Festival Theatre

Keith Allen as Rough & Kara Tointon as Bella

Great direction in a theatrical production is highly underrated these days and the art form suffers greatly from either an absence of it or lack of expertise. The same can be said for great writing. The new revival of Gaslight, currently on tour and playing to packed houses, delightfully has both great direction and great writing.

Penned in the mid 1930s by Patrick Hamilton, the story explores the mental abuse of a woman by her husband, a psychological practice now known as 'gaslighting' because of the this very play. Although it is set in 1871, the subject matter is as relevant now as then and would not be out of place on a prime time television thriller.

Director, Anthony Banks, stages a captivating production that never loses momentum, despite the huge amount of dialogue. The action on stage is almost choreographed. The characters partner up in a dance of power, as the baton of control is passed around from person to person. David Woodhead's set presents a perspective that challenges the mind and creates the most amazing acoustics that permit the actors to work without microphones, adding to the authenticity of the setting. It's a joy to watch a show where the voices come from the performing space, rather than a speaker in the auditorium, and you can here every single word.

It's a pleasure to see Kara Tointon back at Malvern. She gives an exhausting performance as the tortured wife, Bella, with an historically accurate, melodramatic edge. Rupert Young is unnervingly brilliant as her husband and abuser, Jack, as he keeps switching from protector to persecutor and back again, asserting dominance over his prey. Keith Allen is very likeable as Bella's rescuer, the retired crime fighter, Rough, who is aided and abetted by the resourceful housekeeper, Elizabeth, perfectly portrayed by Helen Anderson. Charlotte Blackledge is excellent as the feisty maid, Nancy, with ideas well above her station and a singleminded determination that unexpectedly makes her possibly the most powerful character of all. Grace Osborn and Adam Lilley make brief appearances and have the unenviable task of understudying two characters each. The pace and energy of the entire cast is engaging and exciting.

Technically, the lighting isn't consistent and some of the lighting states are distracting rather than enhancing and the use of underscoring in some of the scenes is completely unnecessary and draws focus away from the acting, at times. The costumes, however, are stunning.

Gaslight is testament to the importance of superb directing, writing and casting. It runs at Malvern Theatres until Saturday and is definitely worth seeing.

4 stars

SLEEPING BEAUTY

Malvern Festival Theatre

(UK Productions)

UK productions have done it again with a wonderfully refreshing script and superb casting. Sleeping Beauty at Malvern Theatres is laugh out loud funny!

Chris Pizzey, best known as Basil Brush's sidekick Mr Stephen, is not only brilliant as the comedic Silly Billy but also as director of this rib tickler of a show. Excellent storytelling has been interspersed with hilarious comedy routines and an eclectic mix of songs, old and new, perfectly accompanied by Christopher Duffy and his band. Alastair Bull returns as choreographer, fully utilising the local, young talent of Cecilia Hall Dance Centre while showcasing the professional dancers.

Rebecca Wheatley, of Casualty fame, flies in to open the show as a very likeable Good Fairy bestowing magical gifts on baby Rose. The celebrations are interrupted when the evil Carabosse turns up to lay a curse on the tiny princess. She will die on her 18th birthday, when she pricks her finger on a spinning wheel. Due to illness, Gillian Wright was unable to play the part of the evil fairy, so executive director, Anthony Williams, stepped into the role and gave a truly magnificent performance, saving the day!

Eighteen years on and it is the day Princess Rose's birthday. The delightful Amy Thompson returns to Malvern to bring new life into the princess role and is perfectly paired with David Barrett as the dashing, Prince Philip. Their rendition of Queen's Somebody To Love is stunning. Barrett's vocal similarity to Freddy Mercury is astonishing. Mark Llewelyn Evans is great as her very Welsh father, King Colin, and also wows the audience with his impressive set of pipes! The most inspired casting is Quinn Patrick as Nanny Glucose. He is, without question, one of the funniest dame I have ever seen and brings the role right up to date. Pizzey and Patrick are simply the most entertaining double act as Nanny and Billy and will have you in stitches! The humour throughout the production is a superb mix of pantomime classics and new jokes with plenty of current and satirical references, something for all of the family to enjoy.

Despite the set looking a little tired, Ben Merrick's lighting design transforms the space into a magical, fairytale land with Elizabeth Dennis' beautifully luxurious costumes adding sparkle. The only thing that could possibly make this panto any better is reducing the running time by about fifteen minutes but I'm sure this will happen naturally during the run.

The pantomimes at Malvern Festival Theatre seem to get better and better every year and this year is an absolute triumph. Sleeping Beauty is fresh, funny and full of heart. Make sure you go and see this festive treat. It runs until 8th January.

5 stars

RENT (20th Anniversary UK Tour)

Malvern Festival Theatre

(Robert Mackintosh and Idili Theatricals Ltd)

La Vie Boheme

The 20^th Anniversary UK tour of Jonathan Larson’s rock opera, Rent, is an unequivocal triumph. Director, Brue Guthrie, has honourably paid homage to the original Broadway production while making it fresh, raw and enticing for a whole new generation.

Inspired by Puccini’s opera La Bohème, the story focuses on a group of bohemian artists who struggle to maintain their friendships and their non-conformist ideals in New York's East Village, in the mid nineties. Anna Fleischle’s stage design captures the very essence of street life with her brilliant recreation of the now famous corner of East 11th Street and Avenue B, delightfully utilising every inch of performance space.

Seasons Of Love

The entire cast are superb, leads and ensemble, and it would be unfair to single out any particular performance. There are wonderfully notable moments from every single actor. Rent is a tough sing and vocals excelled across the board with a talented, five-piece band providing awesome accompaniment.

Getting Lee Proud on the creative team was a stroke of genius and yet again he enhances another production with his exhausting choreography, totally transforming numbers such as La Vie Boheme and Christmas Bells. The Tango Maureen is perfection and Layton William’s dance in Today 4 U defies gravity. There’s certainly plenty to keep dance captain, Katie Bradley, busy!

Today 4 U

This production of Rent is magnificent, a theatrical event that will leave you feeling emotionally violated in the best way possible. It is also proof that you can get new, younger audiences into theatres if only the right stuff is produced. An unusually busy press night and standing ovation from the whole theatre are testament to Larson’s legacy, Guthrie’s vision and the epic efforts of cast, crew, creatives and entire production team. Go and see this show. Book your tickets now!

5 stars

DEAD SHEEP

Malvern Festival Theatre

(Dead Sheep Limited & Cahoots Theatre Company)

Steve Nallon as Thatcher and Paul Bradley as Howe

Occasionally great new writing is wonderfully directed and brilliantly performed, restoring ones faith in live theatre. So is the case with Dead Sheep, the intriguing story of how Britain’s first female Prime Minister, Margaret Thatcher, fatally underestimated her mild mannered, Foreign Secretary, Geoffrey Howe. Although not the most entertaining topic for a play perhaps, Jonathan Maitland has penned an ingenious, satirical look at events that seemingly led to the political demise of the Iron Lady.

Paul Bradley is utterly charming as the socially awkward Howe, egged on by his ambitious wife, Elspeth, deftly played by Carol Royle.  The references to The Scottish Play worked perfectly in the portrayal of this relationship. Steve Nallon, who famously presented the voice of Maggie Thatcher in Spitting Image for so many years, is unnervingly convincing as the former PM, throwing looks that elicited audible winces from the auditorium. The remaining characters are skilfully played by Graham Seed, John Wark and Christopher Villiers, who also collectively narrate the action throughout. Villiers’ physicalisation of characters at Prime Minister’s question time is extremely entertaining and note worthy, as is the telephone scene. Simply brilliant!

Director, Ian Talbot, really shows his metal with the staging of this piece, capitalising on the skills afforded him by the actors. The physical humour is welcomingly abundant and adds worthy value to the script and storytelling. Morgan Large has designed a perfectly simplistic set that effortlessly transforms from location to location without interrupting the action, excellently enhanced by David Howe’s lighting design.

This is a great production and well worth seeing.  It is on at Malvern Festival Theatre until Saturday.

4 stars

MILLION DOLLAR QUARTET

Malvern Festival Theatre

(Produced by Simon Friend and Mark Goucher)

Every so often a show comes along that restores your faith in live theatre and Million Dollar Quartet does that in bucket loads. Currently at Malvern Festival Theatre, as it tours the country, this vibrant new musical gives the opportunity to experience an extraordinary night in rock ‘n’ roll history. One December evening in 1956, Sun Records producer, Sam Phillips, gathered together four of his protégés, music legends who changed the world. That night saw Elvis Presley, Johnny Cash, Jerry Lee Lewis and Carl Perkins share their love of music as a collective that would become known as the Million Dollar Quartet.

Jason Donovan is excellent in the role of Sam Phillips, the man who created rock ‘n’ roll, with a convincing Tennessee drawl and authenticity of character that gives the story real heart. Matthew Wycliffe brilliantly portrays the frustrations of Carl Perkins, writer of Blue Suede Shoes, who missed a golden opportunity because of a car crash on the way to a TV appearance. Robbie Durham is perfectly chilled as Johnny Cash and Ross William Wild’s vocals as Elvis Presley are faultless. Direct from playing the role in Vegas, Martin Kaye is absolutely phenomenal as Jerry Lee Lewis. All four convincingly capture the character and voice of each performer and ooze with musical talent to rival the originals. Katie Ray delivers impressive vocals as Presley’s girlfriend, Dyanne, while Ben Cullingworth and James Swinnerton provide superb accompaniment on drums and bass.

Writer, Colin Escott, has penned a fascinating insight into a time of immense global upheaval, when music seemed to be the fuel for change. Set in real time, the story cleverly interweaves the past for each of the recording artists and explores their relationships and personal dilemmas, amidst a glorious discography of, not one but, four music legends. Set in the Sun Records recording studio, Ian Talbot’s direction is simple and effective and John Maher’s musical supervision delightfully speaks for itself. Although the set looks great, it appears a little flimsy in design and, at times, the shaky walls were reminiscent of Crossroad. However, this didn’t affect the enjoyment and may have been a first night glitch. Special mention has to go to David Howe, for one of the most fantastic lighting designs. Simply stunning!

If you like The Buddy Holly Story then you will adore this. Featuring legendary hits including Blue Suede Shoes, Fever, Great Balls of Fire, Walk the Line, Whole Lotta Shakin’ Goin’ On, Who Do You Love?, Folsom Prison Blues, Hound Dog and many more, you are guaranteed an epic night out. Million Dollar Quartet runs at Malvern until Saturday, before moving on to the Birmingham Hippodrome.

5 stars

THE GLEN MILLER STORY

Malvern Festival Theatre

(Bill Kenwright Productions)

A new musical of the story of big band music legend, Glen Miller, arrives at Malvern Theatres this week, as part of its nationwide tour. It is a perfectly simple telling of this swing icons rise to stardom and untimely disappearance during the Second World War.

Bill Kenwright produced and directed this excellent production and was also responsible for the very odd casting of 79 year old Tommy Steele in the eponymous role of a man who never made it past 40. There is no denying that Steele is a wonderful showman but it just doesn’t make any sense. Steele begins as narrator of the story, which is ideal and then starts playing Miller as a man in his late twenties, which is confusing at best and disturbing at worst. Miller’s romantic involvement with the love of his life, Helen, is a major part of the show and the scenes with the much younger performer were uncomfortable to watch and more reminiscent of Hugh Hefner than Glen Miller. Kenwright knows how to make money, without question, and it was clear that over half of the audience was made up of Tommy Steele fans, enthusing over his performance, and that equates to ticket sales. Without him, the show may well have closed by now but surely the script could have been adapted to use him in a more appropriate way. As it is, it is unclear whether this is the Glen Miller Story or the Tommy Steele Show.

Having said that, the show itself is top notch and deserving of much praise. The 16 piece orchestra, led by MD Richard Morris, is phenomenal, producing the most delicious sounds of a bygone age. Helen Tsingos visually recreates the era brilliantly with her costumes that add vibrancy to a very simple set design. Olivier Award winning, Bill Deamer, provides delightful choreography, expertly executed by six dancers, who provide superb, close part harmony throughout too. Ashley Knight plays Miller’s pal Chummy MacGregor with style and flair and Abigail Jaye is stunning as Miller’s muse and wife, Helen. The whole cast are amazing and handle the peculiar lead casting extremely well.

Fans of Tommy Steele will absolutely love this. Fans of swing and big band will adore this. Fans of musical theatre will most likely be too confused to know how they feel about it.

3 stars

THE SHAKESPEARE REVUE

Malvern Festival Theatre

(Kenny Wax Ltd & Cambridge Arts Theatre)

To commemorate the 400^th Anniversary of Shakespeare’s death, The Shakespeare Revue is enjoying a welcome revival. Originally produced by the Royal Shakespeare Company back in 1994, this fresh, updated version is touring prior to a West End run and currently visiting Malvern Festival Theatre.

Lizzie Bea, Jordan Lee Davis, Alex Morgan, Alex Scott Fairley and Anna Stolli make up the dynamic cast with their talented Musical Director, Oli Jackson, accompanying them on piano. Each performer skilfully delivers a wonderful selection of Shakespearean inspired skits and songs from comedy icons Victoria Wood, Alan Bennett, Maureen Lipman, Monty Python, Noël Coward, Cole Porter, Fry & Laurie and musical theatre favourites, Stephen Sondheim and Stiles & Drewe.

The creative genius of Christopher Luscombe and Malcom McKee have devised a charming show with clever, funny and often touching scenes, slickly pieced to together and perfectly executed. You don’t have to have a broad knowledge of Shakespeare’s works to enjoy this revue as it is mostly centered around his more well known plays such as, Hamlet, Macbeth, Romeo and Juliet and A Midsummer Night’s Dream, however, the greater your understanding of the bard of Stratford-upon-Avon, the funnier it will be. The revue format is very simple and focuses on the actors and the material, with no set and minimal lighting. It won’t be everyone’s cup of tea but it is definitely a joyous evening of quality entertainment.

The Shakespeare Revue runs until Saturday, before continuing on to Richmond, Brighton and Glasgow.

H.M.S. PINAFORE

Malvern Festival Theatre

(Regan De Wynter Williams Productions)

Sasha Regan’s, all male, production of Gilbert and Sullivan’s HMS Pinafore is docked at Malvern Festival Theatre this week. Set in the hold of a Second World War battleship, a cast of sixteen seamen tell the tale of forbidden love across the social classes.

This production strips away the usual opulence of a G&S show, simply relying on the actors to share the story through creative, theatrical means. Even the orchestra is reduced to one, with the gifted Richard Bates accompanying the entire performance on piano. Ryan Dawson Laight’s set consists of just three metal-framed bunks, a collection of boxes and industrial wall lights hanging from the ceiling. Atmosphere is amply provided by Tim Deiling’s lighting design, while the gender reversals are cleverly invented with life jackets added to basic work and gym attire. The focus rests solely on the physical and vocal aspects of the performers, which is as refreshing as it is delightful.

This is truly an ensemble piece, with a finely drilled team presenting wonderful, choral harmonies and sharp, synchronised choreography, courtesy of Liza Gee. Tom Senior provides the steely looks of the lovelorn lead, Ralph, and although poor diction hampers his deliver at times, the chemistry between him and his sweetheart, Josephine, is enchanting. Ben Irish shines in his role as said Captain’s daughter, with the most beautiful, pure falsetto voice to rival any of the great operatic sopranos. Her father is brilliantly played by the very expressive Neil Moors who creates the most likeable, endearing character of all. David McKechnie’s performance of Buttercup is reassuringly strong and articulate, as is Michael Burgen in the part of the pompous Sir Joseph. James Waud is perfectly dastardly as Dick Deadeye, which, as a character, never quite lives up to the expectations of the name and Richard Russell Edwards makes a comedic silk purse out of the sow’s ear that is Hebe.

The only thing against this show is the material. Gilbert and Sullivan musicals are definitely of its time and don’t fare as well as Shakespeare, for example. The stories are generally thin, the music predictable and the dialogue noticeably dated. Fans of G&S are evident but dwindling and the small audience in attendance were hugely appreciative. This is certainly an innovative take on a dated show, superbly directed, exquisitely performed and a theatrical event definitely worth seeing.

4 stars

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

ROCKY HORROR SHOW

Malvern Festival Theatre

(The Ambassador Theatre Group Ltd)

Richard O’Brien’s cult classic, Rocky Horror Show, makes a triumphant return to Malvern Festival Theatre, judging by the packed house on opening night. The show recently celebrated its 40^th Anniversary with a special West End performance, screened live in cinemas across the country, and is now on a national tour, to the titillation of cross dressing fans everywhere.

Kay Murphy opens this science fiction, double feature and captivates from the get go. Her vocal ability as Usherette is as impressive as her physical agility as Magenta. Emmerdale’s, Ben Freeman, and X Factor’s, Diana Vickers, are perfect as the naïve and, oh so, impressionable, Brad and Janet, who are on a night out that they will remember for a very, very long time. Comedian, Steve Punt, brings welcome decorum to proceedings as Narrator, handling the audience contributions to the script with aplomb. Kristian Lavercombe is one of six cast members who were in the televised West End special and deservedly so with his incredibly powerful voice and characterisation as Riff Raff. Joining him, is the equally talented Sophie Linder-Lee with her dynamite performance of Columbia and the image of physical perfection, Dominic Anderson, as Rocky. Making his musical theatre debut, since being in S Club 7, Paul Cattermole is great in the dual roles of Eddie and Dr Scott, with Ben Kerr, Will Knights, Hannah Malekzad and Lauren Ingram making up the wonderfully freaky ensemble. In the lead role of Frank-N-Furter, is the beautiful and super talented, Liam Tamne, whose portrayal equals that of the previous owners of those iconic stilettos, Tim Curry and David Bedella.

Director, Christopher Luscombe, and choreographer, Nathan M Wright, have created a superbly slick and entertaining production, brilliantly enhanced by Hugh Durrant’s set deisgn and Nick Richings vibrant lighting design. The show would have a fraction of the impact, however, without Ben Van Tienen’s musical direction and immensely gifted band.

If you have been fortunate enough to get tickets to see this show, you are in for an outrageous night of delightful debauchery. Not for prudes and the easily offended, thank goodness!

5 stars

SAVE THE LAST DANCE FOR ME

Malvern Festival Theatre

(Bill Kenwright Productions)

Creators of the hit show ‘Dreamboats and Petticoats’ return to Malvern Theatres with their other jukebox musical ‘Save The Last Dance For Me’ showcasing the works of Doc Pomus and Mort Shuman. Timeless classics such as Viva Las Vegas, Sweets For My Sweet, Teenager In Love, And Then He Kissed Me, Please Mr Postman and Tell Her are interwoven into a charming love story set on an American Air Force base in ‘sunny’ Lowestoft in the early sixties. Free from their parents, two sisters escape Luton, heading off to the seaside, finding love and romance in unexpected places.

The romantic lead, Curtis, is taken by James Denton and although he doesn’t seem comfortable playing the love struck GI, he really comes into his own when he serenades the focus of his affections, Marie, reprised by Elizabeth Carter who is delightfully innocent and naïve, with the voice of an angel. X factor contestant, Lola Saunders, is great as Marie’s feisty, older sister, Jennifer, proving her competence as a comedic actress and dancer, as well as vocalist. Star of the pop band Blue, Antony Costa, revels in the part of Milton, with a very convincing New York accent and secure vocals. Sackie Osakonor’s muscular stature, as Rufus, is as impressive as his vocals and highlighted the interesting choice of the casting director to cast overweight men in the role of American servicemen. Audience members were discussing the male physiques during the interval and carrying extra weight in a role where the characters are supposed to be at peak physical fitness is something that the performing arts industry would absolutely not accept from female performers auditioning. It’s important that casting should reflect society and present a variety of body shapes and sizes, however, casting has to be appropriate to each specific role to make it believable and it is part of the actor’s job to then stay in shape. The women clearly recognise the importance of that.

Rachel Nottingham and Kieran Kuypers deliver great performances as Marie and Jennier’s, long suffering parents and Anna Campkin is brilliant as Doris from Leeds. Musical talent oozes from every pore of the immensely gifted cast of actor musicians, who make up the Forces’ band. The rest of the supporting cast deliver slick performances throughout, maintaining the energy and enthusiasm required for such a show.

Bill Deamer’s choreography is bright and cheery and despite being a little repetitive it caters perfectly for the varying dance ability of the cast making everyone look good. Laurence Marks and Maurice Gran write simple, but effective dialogue that keeps the story moving along at a pace and Mark Bailey’s set and costume design perfectly compliment the era and vibrancy of the time.

Save The Last Dance For Me is an entertaining and enjoyable night out with a sweet storyline and wonderful, live music.

4 stars

END OF THE RAINBOW

Malvern Festival Theatre

(Paul Taylor Mills & Mercury Theatre in association with the Belgrade Theatre)

Lisa Maxwell as Judy Garland

Lisa Maxwell gives the performance of a lifetime with her tribute to Judy Garland in the wonderfully captivating End Of The Rainbow. Better known for her nine year stint in The Bill and being a regular favourite on the lunchtime magazine show Loose Women, Maxwell astounds with the most incredible interpretation of Hollywood’s movie-musical legend. Her visual, physical and vocal mimicry is breathtaking as she gives us an insight into the tragic personality of this gay icon, battling with drug addiction and alcoholism and the resulting crippling anxieties.

The story takes place in London at the start of a ‘comeback’ tour in 1968, only months before her untimely passing, with the action switching between her hotel suite and The Talk of the Town cabaret club. Her young, new manager, and soon-to-be fifth husband, Mickey Deans, strives to help Garland overcome her demons and rebuild her career, which lies in tatters, as she faces financial ruin. He is aided by the songstress’ accompanist, Anthony Chapman, whose love for Garland runs deep, fuelling his attempt to save her from herself and the impending marriage.

Sam Attwater’s impressive stature, as the fiancé, dwarfs the delicate frame of the silver-screen star, juxtaposing her fragility with her strength and resilience. Gary Wilmot is absolutely perfect as Garland’s pianist and silent rescuer. His solid stillness and witty repartee are a constant in the crazy dichotomies of show business. The final member of the players is Simon Pontin, who is great in his various cameos.

Brilliantly directed by Daniel Buckroyd, the star of the show has to be Peter Quilter’s script, which is a superb mix of pathos, comedy and music. The dialogue is engaging throughout and despite the sadness of the situation, the storytelling remains energised and ever hopeful, cleverly challenging our opinions of each character as they struggle to cope on their collective journey.

I have heard that the tour has been cut short, due to poor ticket sales. This is criminal for such a worthy production. It is, without doubt, one of the best shows I have seen for a very long time. End Of The Rainbow is engaging, powerful and funny. It is as deserving of packed houses as Lisa Maxwell was of the standing ovation she justly received. This is live theatre at it’s absolute best!

5 Stars