Archive for May, 2026


Tale as old as time. 
True as it can be. 
Barely even friends, 
Then somebody bends 
Unexpectedly.

Beauty and the Beast — Stourbridge Town Hall — 5 May 2026

Third time in two years seeing Beauty and the Beast. Always a delight, and safe in the prospect of an excellent production with Tinkers Farm at the helm. I like this society and each year they offer two quite different mediums, at least since I have been going to see them. In Autumn, you get a Comedy Play/TV Tie-in and Spring, a musical. And they do not come much bigger than Alan Menken’s classic fairytale. Full of instantly recognisable numbers, I was enthralled by the opening night for this run.

Beauty and the Beast — Stourbridge Town Hall — 5 May 2026

Okay, there were some early teething troubles. Sound issues (like that never happens in am-dram) and what looked like the most cumbersome set ever were a couple, but these were in the opening fifteen minutes, and everything appeared to sail smoothly after that. Then, by the end of the show, you felt you had watched the professionals.

Beauty and the Beast — Stourbridge Town Hall — 5 May 2026

As our Beauty we had Rebecca Bate who was on top form in the role of Belle, shining in Home and A Change in Me, plus taking the lead in Belle. Alongside and the man behind a quite fearsome mask was Richard Cooper playing the Beast. Excelling during How Long Must This Go On and If I Can’t Love Her, Cooper was also commanding in stage presence. Gaston, the villain of the piece was Adam Siviter who gave a powerful performance. I only wish audiences would not boo the baddie in musicals; this is not panto. People have put their heart and soul into a role and deserve their moment. Raymond Turrell was a likeable LeFou as was Dave Hogan playing Maurice. I will add, for Maurice, it was a brave but wise decision to ditch the false moustache mid-show after several mishaps. Into the Beast household and Simon Wilkinson was my personal favourite as Cogsworth, but he was ably supported by Helen Hogan (Mrs Potts), Matthew Morgan (Lumiere), Gabby Baldwin (Madame), Sarah Jennings (Babette) and both Maisie Harrison and Katie Cleary (for alternating performances) as Chip (I have no idea which I saw). Dominic Butters played Monsieur D’Arque while the Enchantress was Tina Andrews. I also enjoyed the entertaining and funny rivalry between Les Fillies (Rachael RoyalEmma Preece and Evan Johnson). A strong ensemble then completed a magical production which Emma Harley (Director/Choreographer) and Richard Ganner (Musical Director) can be proud of.

Beauty and the Beast — Stourbridge Town Hall — 5 May 2026

Familiar numbers including No Matter WhatGastonBe Our Guest and that tale as old as time, Beauty and the Beast made this even more special. Tinkers Farm return to comedy drama later this year with Blackadder II (a cunning plan) before a massive undertaking this time next year in Chitty Chitty Bang Bang. I am well jealous of those taking part in the latter.

Beauty and the Beast — Stourbridge Town Hall — 5 May 2026

Cheers.

Antony N Britt

*Photos taken from Tinkers Farm social media and may not represent the actual performance reviewed.

This one was over 50 years in coming, a lifetime after I first heard the drum beat of Can the Can. Suzi Quatro is now 75 and I can only hope I have that much energy in thirteen years’ time. Okay, maybe not as raucous as 1973, but still a great voice and hitting that bass with profound effect. With a full band and backing singers whose names I can unfortunately not recall, Symphony Hall roared from start to finish.

Suzi Quatro — Symphony Hall, Birmingham — 19 April 2026

Launching into The Wild One, the show had two long sets giving you hit after hit among many other tracks. In addition to the two already mentioned, we had Devil Gate Drive48 CrashStumbling InIf You Can’t Give Me Love and She’s in Love with You, and many more, as they used to say in the 70s on the old K-Tel adverts. Other personal favourites of mine were Daytona DemonMama’s Boy, and Little Miss Lovely. However, covers of Slow Down (Larry Williams), Bad Moon Rising (Creedence Clearwater Revival), Rockin’ in the Free World (Neil Young) and Sweet Little Rock and Roller (Chuck Berry) were also top drawer.

Suzi Quatro — Symphony Hall, Birmingham — 19 April 2026 Photo © Antony N Britt 2026

The night gave us a pure nostalgia fest and proved Suzi can still rock us other oldies (as most of the audience were) and still pull off the denim and leathers. As well as the music, there were stories and history with Ms Quatro really connecting with the crowd. From the early years as a singer with her sister in The Pleasure Seekers, Quatro tells of contacting Micky Most and heading to the UK where she became the star she still is today. Tales of TV including Happy Days (Happy memories as Leather Tuscadero) and being killed off in Midsommer Murders. Mind you, not listening to mainstream radio for 40 years I had no idea she spent 15 with her own show on BBC Radio 2. My musical theatre experience, unfortunately, never brought me to see her in Annie Get Your Gun in 1986, but I do have the cast recording, as I do all of her albums.

Suzi Quatro — Symphony Hall, Birmingham — 19 April 2026 Photo © Antony N Britt 2026

Although the late 70s was when I was in my teens and discovering my taste in music, the era of Quatro, Slade, The Sweet and T Rex helped form those likes for the future, and Suzi played a huge part in that. And I can only say, thank you, Suzi. A great night out.

Suzi Quatro — Symphony Hall, Birmingham — 19 April 2026 Photo © Antony N Britt 2026

Cheers.

Antony N Britt

Come with me and you’ll be 
in a world of pure imagination. 
Take a look and you’ll see 
into your imagination.

Charlie and the Chocolate Factory — The Core Theatre, Solihull — 17 April 2026

Second sampling of this musical within the space of a few weeks, this time with the Peterbrook Players at the lovely Core Theatre in Solihull. This was my first experience of Peterbrook and I was not disappointed, the show a delight from start to finish.

Charlie and the Chocolate Factory — The Core Theatre, Solihull — 17 April 2026

Briefly going over the plot again — Poorest family in the world with the most bone-idle grandparents in history are dependent on Charlie and his mother’s earnings to survive. I mean, have they never heard of social security? Anyway, famous chocolatier contrives for Charlie to gain entry to his factory while also seeking the four most horrible children in existence, just to teach them a lesson. What you get is a magical experience full of good songs and dance with a decent plot, based on the Roald Dahl book of the same name, also including some of the numbers from the 1971 movie, Willy Wonka and the Chocolate Factory.

Charlie and the Chocolate Factory — The Core Theatre, Solihull — 17 April 2026

Oisin Kelly (in this performance) was Charlie, and he excelled with outstanding presence and voice. On alternating performances, Alfie El-Safti took on the role, so I will credit him too. Equally as excellent, Matt Barnard shone as the wizard-like Wonka, directing events as they unfolded on stage. Danielle Pancheri was particularly strong as Mrs Bucket. Grandpa Joe, who in the original film is for me the villain of the piece, is thankfully here more of a supporting hero for Charlie and he was played well by Andrew Alton. As the other bedridden wrinklies (I’m 62, I can get away with saying that) we had Alison Tumber (Grandma Josephine), Annette Whalley (Grandma Georgina) and Nick Tickner (Grandpa George), who added subtle humour at times. As for the four horrors with their respective parents, all were on top form. These included Iona Cameron (Augustus Gloop), Amelia Bickerton (Veruca Salt), Annie Stephenson (Violet Beauregarde), Jacob Young (Mike Teavee), Paula Whitehouse (Mrs Gloop), Rob Jervis (Mr Salt), Michael Stephenson (Mr Beauregarde) and Anna Gifford (Mrs Teavee). Completing the principals well were Melissa Goode (Cherry Sunday), Jude Maskell (Jerry Jubilee) and Ann Bloomer as Mrs Green with her barrow of pre-loved vegetables. All the above were complemented by a strong ensemble complete with juniors and adults both.

Charlie and the Chocolate Factory — The Core Theatre, Solihull — 17 April 2026

The show was directed in both staging and musicality by Paula Whitehouse who can be very pleased with the results which included phenomenal voices throughout. The choreography was also top of the tree and this is a credit to Abi Harvey who had that responsibility. Good use of projected backdrops also worked well on top of impressive sets. However, what was clear above all else was just how enthusiastic the cast were, enjoying every minute. And how could they not be with such a polished performance which totally deserved the applause at the end.

Charlie and the Chocolate Factory — The Core Theatre, Solihull — 17 April 2026

So concludes the second of two amateur productions of this musical, both which I enjoyed more than the professional tour a couple of years back. I am seeing another company’s offering of this show in the Autumn and after Peterbrook’s production, I can only look forward to it again.

Charlie and the Chocolate Factory — The Core Theatre, Solihull — 17 April 2026

Cheers,

Antony N Britt

*Photos taken from social media.

Do you believe in fairies?

The Cottingley Fairies — Birmingham Hippodrome — 12 April 2026

Always one for a new musical, and in this case, based on a tale I know well. The Cottingley Fairies relates to events from the early 20th century about two girls who convinced the world (and in particular, Sir Arthur Conan Doyle) that fairies were real. I remember this from my youth and the magazine, The Unexplained, around 1980. It was in this publication that one of the girls, now elderly, revealed that they had faked the photos (No shit, Sherlock, if you forgive the pun, Sir Arthur). Having said that, it was still a magical idea and well suited for transformation onto the stage.

The Cottingley Fairies — Birmingham Hippodrome — 12 April 2026

My first visit to the Patrick Studio at the Birmingham Hippodrome which I enjoyed, sat on the front row, fully immersed into the whole experience. With some excellent scenery and props, you really did feel like you were part of procedings. It was also my first time sampling British Youth Musical Theatre who worked with Clare Packham (Writer/Co-Lyricist) and Fintan Kealy (Composer/Co-Lyricist), who are part of Cameron Mackintosh’s Resident Writing Team Placement. The result — an intriguing and most enjoyable production.

The Cottingley Fairies — Birmingham Hippodrome — 12 April 2026

Told mostly through song and dance movement, there was a real feel of folk with a fair bit of prog rock thrown in. This worked well concerning the subject matter and I loved the imagery of the fairies as they surrounded the characters in a dreamlike fantasy state. By the end, you really wanted the story to be true, and such was the effect, those fairies were real enough to me. I enjoyed how the older and younger versions of the two girls interacted, the audience getting a solid feel of a story being told by the elder ones. We had turmoil, poignancy of loss during wartime, and a fair bit of humour at times, all delivered well by an outstanding cast.

The Cottingley Fairies — Birmingham Hippodrome — 12 April 2026

Nicole Cammack was exceptional as Young Frances (Bearing an uncanny likeness to the real one, too) as was Blaize Middleton in the role of Elsie. For their older counterparts, strong performances came from both Danielle Kelly-Honey (Frances) and Fern Mellor (Elsie). Supporting well though were Scott Hawthorne as the duped Conan Doyle, Gwen Pritchard-Thomas (Annie Griffiths), Zack Went (Edward Gardner), Isla Jones (Polly Wright) and Caitlyn Hamilton (Arthur Wright). However, an ensemble of more than 30 also played their part in the whole magical experience. At the helm in production were Ewa Dina (Director), Jacob Savage (Musical Director), and Hannah Fairclough (Choreographer). Credit must also be given to the amazing costumes and set (Lu Herbert), effective lighting (Rachel E Cleary) and solid sound (Sam Levy).

The Cottingley Fairies — Birmingham Hippodrome — 12 April 2026

So, did I believe in fairies afterwards? Not exactly, but it is a nice idea. However, I did believe in British Youth Musical Theatre, and I shall be watching with interest in the future. Overall, a wonderful outing to Yorkshire of 100 years ago and a production I shall remember for a long time.

The Cottingley Fairies — Birmingham Hippodrome — 12 April 2026

Cheers.

Antony N Britt

*Photos taken from social media and the internet.

That is the elephant in the room. 
Well, is it relevant to assume 
That a man who wears perfume 
Is automatically, radically fey?

Legally Blonde — The Alexandra Theatre, Birmingham — 4 April 2026

It would be an understatement to say I am no stranger to Legally Blonde the musical as I had already seen it eight times (but never watched the film — strange). So, what was it that made me book tickets well in advance? One person. Amber Davies. I had previously seen her in 9 to 5 and Pretty Woman and soon had her as my favourite musical theatre performer. And yet, she still gets bad press from a small quarter. Whether this is down to Love Island fame from years ago, I don’t know. C’mon, give the girl a break. She was trained in Musical Theatre long before that.

Legally Blonde — The Alexandra Theatre, Birmingham — 4 April 2026

Okay, the tedious bit. Legally Blonde is a 2007 show with music and lyrics by Laurence O’Keefe and Nell Benjamin and a book from Heather Hach. It is based on the novel Legally Blonde by Amanda Brown and the 2001 film of the same name. It tells the story of Elle Woods, a sorority girl who enrols at Harvard Law School to win back her ex-boyfriend, Warner.

Legally Blonde — The Alexandra Theatre, Birmingham — 4 April 2026

The show itself is up with the best, and there is not a bad number in the song roll. My personal favourite this time was There Right There. If you know, you know. Having seen it so many times, I did notice a few tweaks with some of the derogatory stereotyping removed and more modern references replacing dated ones. The direction of Nikolai Foster and choreography from Leah Hill was outstanding, but you still need a good cast to pull it off.

Legally Blonde — The Alexandra Theatre, Birmingham — 4 April 2026

James Lim really played his part and captured the spirit of Emmet well, as did in other roles: Karen Mavundukure (Paulette), Adam Cooper (Callaghan), Jamie Chatterton (Warner), Annabelle Terry (Vivienne), Jocasta Almgill (Brooke), Hannah Lowther (Margot), Rosanna Harris (Serena), Remi Ferdinand (Pilar), Ty-Reece Stewart (Kyle), Bradley Delarosbel (Carlos) and Keanna Bloomfield (Enid), as well as an excellent company of ensemble and swings. And sorry, this time, I refuse to credit the bloody dogs as the trainer wasn’t even mentioned in the programme. Ha!

Legally Blonde — The Alexandra Theatre, Birmingham — 4 April 2026

Of the songs not already listed, I love Ireland, Bend and Snap and … just about all the rest of them. Excellent lighting, sound and set with a good orchestra conducted by Cerys McKenna topped an outstanding show.

Legally Blonde — The Alexandra Theatre, Birmingham — 4 April 2026

Oh … have I missed someone?

Legally Blonde — The Alexandra Theatre, Birmingham — 4 April 2026

Yes, the star of the show, the one I came to see. As always, Amber Davies was exceptional. Born to play Elle Woods, this was the best I have seen in the role. Excellent voice, strong acting, and superb dance, but not afraid to bring what I suspect is natural vulnerability. Amber has been through a lot in the past six months. Hate on social media during Strictly Come Dancing and more recently, criticism for the heinous crime of … getting ill. Take heart, Amber, for every keyboard critic, there are dozens that love you. You would not have sold out every show otherwise and had them queueing at the stage door in hundreds. And, have the satisfaction that for those in the minority of haters, you are still occupying a part of their sad little minds.

Legally Blonde — The Alexandra Theatre, Birmingham — 4 April 2026

Cheers.

Antony N Britt

*Photos taken from public domain and may not represent the performance reviewed.

All you wanna do, all you wanna do, baby
Is please me, squeeze me, birds and the bees me.

Six — Birmingham Hippodrome — 1 April 2026

I don’t think I will ever tire of Six, the one act musical about the wives of Henry VIII. Three times in the past 18 months I have been to see it. Once in the West End, an excellent teen edition and now, the UK tour. And I have another teen youth production to review in the summer.

Six — Birmingham Hippodrome — 1 April 2026

From the pens of Toby Marlow and Lucy Moss, the show contains songs from the six wives, each detailing their own personal trials (literally) and tribulations as they battle for the place of being top queen. After the rousing opener of Ex Wives, Catherine of Aragon (LaSasha Aldredge) tells us No Way before we reach the “One, you’ve all been waiting for,” and Anne Boleyn (Vna Montarde) with Don’t Lose Your Head. Jane Seymour (Emily Dawson) then relates the sad tale of her Heart of Stone before we are transported in 90s club style to the House of Holbein where we meet Anne of Cleves (Jodie Knight) and her orders for King Henry to Get Down. Katherine Howard (Sammy Timbers), who had her fan club on the front row, told the audience All You Wanna Do before the final wife, Catherine Parr (Layla Chivandire) declared I Don’t Need Your Love.

Six — Birmingham Hippodrome — 1 April 2026

The show is rounded off with the title track before a mega finale in MegaSix. Supporting our queens on stage are the live band consisting of Maddie Lygo (Keys and Musical Direction), Dejeante Hinks (Guitar), Alex Maseed (Bass) and Amanda Dal (Drums). All performers, singers and band members alike were on top of their game and this offering was as powerful and funny as ever. One item that I was unsure of in this production, though, was the use of regional accents, but each to their own and I can’t criticise wanting to put an individual identity to a show. All in all, a great night out and fully deserving of the standing ovation.

Six — Birmingham Hippodrome — 1 April 2026 Photo © Antony N Britt 2026

Cheers.

Antony N Britt

*Some photos taken from the public domain.