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