Archive for November, 2017


The Tide is High. Forty years ago I discovered Blondie and since then they have been my number one when it comes to feelgood pop. Therefore, even with Debbie Harry now 72 (Really …? Wow!), I knew I was in for a great night out. And yes, much of the audience were, ahem … older than most, but that didn’t mean they had to behave and were on their feet most of the show.

Kicking off with One Way or Another, I was suddenly a teenager again and the goosebumps continued throughout. Some things seem timeless.

On the night there was a blend of old and new. Five songs from the current album, Pollination, included Long Time, Too Much and Fun. But then we had the classics. Hanging on the Telephone, Call Me, Atomic and Heart of Glass, the list goes on. Highlight for me was the inclusion of Fade Away and Radiate, one of my favourite album tracks. Okay, the set was only 90 minutes long, but so much energy was packed into it. Another feelgood moment was the occasions Harry waved at the audience and on several occasions, seemingly straight at me.

Okay … I can dream.

Making a stand about saving the planet, in particular, the dwindling bee population, Harry appeared wearing a bee head-dress and cape which said, Stop fucking the planet. It was a message repeated throughout the night and one which hit home.

One thing I always have to shout, Blondie are a group and not just Debbie Harry. Integral to things are original members, Chris Stein and Clem Burke, supported by Leigh Foxx, Tommy Kessler and Matt Katz-Bohen. Without these, the music wouldn’t be the same.

I’m fortunate that many of my favourite bands just seem to go on and on. I know nothing lasts forever, so I enjoy these shows while I can. This was so good, though, I can only hope for more to come.

Cheers.

 

Antony N Britt

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This was my second experience of Trinity Musical Theatre Company, having seen their offering of The Witches of Eastwick twelve months ago. So, would this year’s production also deliver satisfaction?

Return to the Forbidden Planet – Dormiston Mill Theatre – 4 November 2017

The first thing to note is the cast are already on stage as the audience enter the auditorium. A good effect which grabs your attention as soon as you hit the seats. An impressive set with costumes reminiscent of Sci-Fi films, one of which Forbidden Planet is famous. In particular, the clone-like appearance of the females which had me thinking of Gerry Anderson’s UFO series of the 1970s.

The show has a low-key opening with flight attendants giving a demonstration of safety precautions. Different, but amusing. Then we have countdown and blast off to the sound of Wipe Out. What caught me straight away was how full the stage was. This was much down to members of the Linzi G School of Dance. A great collaboration which not only sees additional energy and interaction on stage, it also gives pupils experience to add to the CV.

Any fan of rock and roll will love Forbidden Planet; the hits come one after another. Great Balls of Fire, Good Vibrations and Young Girl, to name a few. And a good way to end the show with a medley of tunes, culminating with the comic, Monster Mash.

This is a strange show for me because there is so much I don’t like to begin with. I’m not a fan of the clunky Shakespearian dialogue, neither do I like the cop-out reprise at the start of Act Two where you have a different conclusion to the previous scene, but that’s just the writer in me. The fact I have niggles with the original Bob Carlton script goes to show how good a job the cast and crew have done to get me still raving positive about what was before me.

On the night there were excellent performances from Mitch Bastable as Tempest, Beth Berwick-Lowe (Miranda) and Pat Lewis (Prospero). Also supporting well were Naomi-Leeanne Millard (Gloria), Steve Taylor (Ariel), Abigail James (Bosun) and Mark Moran (Cookie). Okay, Cookie was a trifle older than expected, but this was dealt with in a tongue-in-cheek way at the end of Teenager in Love.

All in all, a thoroughly enjoyable night out. The biggest compliment I can give, though is that on the way to the theatre, I had the London Cast Recording CD on in the car. Trinity’s performance was better. Production for the show was in the experienced hands of Andy Poulton with choreography by Lindsey Grant (of Linzi G fame) and musical direction from Dan Tomkinson.

Return to the Forbidden Planet – Dormiston Mill Theatre – 4 November 2017

Next year, Trinity turn their hands to The Wizard of Oz and on current evidence, it will be another great show.

Cheers.

Antony N Britt

This was the third time I’d seen Bournville Musical Theatre Company in action and like the previous two occasions, I was not disappointed. Hollywood on Broadway featured songs originally from films which had subsequently been turned into shows. And there was much to love. Having seen many of those on the set list, I already knew I’d be in for a good time. But not only ones I was familiar with. Last year, Bournville introduced me to School of Rock and I enjoyed it so much, I purchased the soundtrack and recently saw the West End production. This time, my Amazon account has seen both Heathers and Shrek added to the basket.

Hollywood on Broadway – Dovehouse Theatre, Solihull – 29 October 2017

A fun intro with video montage of both film and stage set the scene. And use of a three-piece band produced a great sound, making one believe  we had more musicians than there actually were.

Opening with three numbers from Footloose, namely the title song, Learning to be Silent and The Girl Gets Around, we were soon in full swing. And then there was an excellent performance by Rachel Fox with I Have Nothing from The Bodyguard. Highlight of Act One for me was Freak Flag from Shrek. So much energy, so much fun.

A year ago I was in Thoroughly Modern Millie and despite seeing it twice since, I never tire and enjoyed Forget About the Boy and solos from Peter Holmes (What do I Need with Love) and Sophie Wood (Gimme Gimme). Also, we had tunes from Little Mermaid including Fathoms Below (Male Chorus), Part of your World (Natalie Buzzard) and Poor Unfortunate Soul (Lily Moore). Another lovely song on the day was With You from Ghost, delivered well by Claire Brough.

Act One ended on a high with an ad for next year’s show, Legally Blonde. Featuring first, Adam and Rhian Heeley with Serious, we then had the energetic Bend and Snap. And then into Act Two with a chorus of 42nd Street.

I’ve mentioned already that I’m intrigued by Heathers and this is due to the song, Candy Store. Then to contrast the previous fast pace, we had the poignant Seventeen from Jonny Stoker and Lily Moore.

One the best bits for me in Act Two were three numbers from Witches of Eastwick, featuring much of the cast. I’ve seen Witches twice in the last couple of years and it was a pleasure to revisit.

What I enjoy most in theatre are character parts and two stand out performances showcased this. Chloe Turner with What’s Wrong with Me from Singin’ in the Rain and Karen Lane with He Vas My Boyfriend from Young Frankenstein.

The show then ended with a retro trip and medley from Saturday Night Fever, leaving the audience in no doubt, they’d been entertained. Apologies for not naming everybody, but it’s impossible to do so. However, I will pay tribute to the fact all played a great part.

Hollywood on Broadway was directed by Sadie Turner with musical direction from Chris Corcoran.

Hollywood on Broadway – Dovehouse Theatre, Solihull – 29 October 2017

Cheers.

Antony N Britt

Apart from recognising a couple of numbers, I knew little about this show prior to arrival at the Birmingham Hippodrome. I’d hurriedly purchased the Broadway Cast soundtrack but in two hearings, very little had sunk in. So, would seeing it live change that?

Crazy for You – Birmingham Hippodrome – 25 October 2017

 

Crazy for You tells the story of Bobby Child who is sent by his banking mother to foreclose a loan in the backwater town of Deadrock, Nevada. Based on the 1930 Ira/George Gershwin show, Girl Crazy, the story was reworked with a book by Ken Ludwig in 1992 and incorporates songs from several other Gershwin productions.

The first thing of note was the doubling up of band/cast with most instruments played on stage. It’s a method I’ve seen a lot recently and works well, although this time at the loss of huge dance routines. We had a decent opening which continued in an inoffensive manner throughout. Songs like Someone to Watch Over Me, Things are Looking Up and But Not For Me were well delivered but it’s the chorus numbers which make the show. I’ve Got Rhythm is no doubt the best known but equally, Stiff Upper Lip and The Real American Folk Song is a Rag were also enjoyable.

Taking the lead in Crazy for You was Tom Chambers as Bobby with Caroline Flack (Irene), Charlotte Wakefield (Polly) and Neil Ditt (Bela Zangler). My only real criticism would be that the supporting characters lacked depth, making them more forgettable, which is a shame for the actors who did a good job. The script was decent, if a little predictable, but there were several funny moments. My favourite had to be the drunk double scene which (I’m not sure if intentional or not) paid homage to the Marx Brothers mirror scene from Duck Soup.

The ending is a little low key but I still came out of the theatre with the feelgood factor. And next day, I listened to the CD for a third time and on this occasion, found myself reminiscing the show with more familiarity concerning the numbers. Therefore, for me, the show had done its job.

Crazy for You was directed by Paul Hart with musical supervision from Catherine Jayes and choreography, Nathan M Wright.

Crazy for You – Birmingham Hippodrome – 25 October 2017

Cheers.

Antony N Britt

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