Category: Reviews


The Wedding Singer was never a classic movie in 1998, and the stage musical isn’t a classic either, but if you want harmless feelgood fun, this is a show for you. For what Wedding Singer lacks in depth of plot and music, it gives in escapism and nostalgia. But you still need to make the best of what you have and fortunately, Bournville Musical Theatre Company did just that.

The Wedding Singer – The Crescent Theatre, Birmingham – 21 May 2022

The show tells the story of Robbie Hart, played superbly by Stuart McDiarmid, who gets jilted at his own wedding and falls in love with waitress, Julia Sullivan (the excellent Chloe Turner). However, Julia is engaged to rich businessman, Glen (Liam Mc Nally) whose example in life Robbie tries to follow. That is until he realises happiness is better than being rich. A sound philosophy.

But a production is not just about the main roles (as original Robbie in the film, Adam Sandler, often seems to forget) You need a strong cast, plus good characters, and meaningful sub-plots. Thankfully, there were; one such stand-out performance being that of Lisa Colvin-Grieve in the role of Holly. Great character and best number of the show with Lewis Doley (Sammy) in Right in Front of Your Eyes. Doley was also excellent as one half of the comic duo of bandmates with Robbie Love as George.

There were also good showings from Jill Hughes (Robbie’s Gran, Rosie) and Sarah Frances McCarthy (Julia’s Mum, Angie). One more to note was new member to the company, Harriet Marsland, who was exceptionally strong in her number, Let Me Come Home.

As well as the rousing opening number, It’s Your Wedding Day, there were decent tunes in Someday, Somebody Kill Me, Saturday Night in the City, All About the Green and Grow Old With You.

The Wedding Singer – The Crescent Theatre, Birmingham – 21 May 2022

The show was directed by John Morrison with Rhian Clements and musical direction was in the safe hands of Chris Corcoran. Choreography was arranged superbly by Sadie Turner who also seemed to have made an unplanned excursion on stage, as she was in the programme stating, “She was looking forward to watching the show.”

First scheduled two years ago and like many, hit by Covid. The Wedding Singer also marked Bournville’s 100th Anniversary as a company. There will be a Centenary Concert at The Crescent Theatre, Birmingham on October 22 this year to celebrate this. An amazing feat to reach such a landmark. Here’s to the next 100 years.

The Wedding Singer – The Crescent Theatre, Birmingham – 21 May 2022

Cheers.

Antony N Britt

If there’s one musical everyone should see, it’s Les Misérables. And although it’s been running in London for many years between 1985 to the present, it’s always worth catching the tour. I do wonder, though, when Cameron Mackintosh took Schonberg and Boublil’s musical version of Victor Hugo’s novel of the same name, did he realized what a phenomenon he was about to unleash?

But a gigantic hit it was. Spectacular in all areas and you know at the end of Les Misérables, you’ve seen a show.

I caught the tour at the end of their stint in Milton Keynes. A decent theatre and probably the best view I’ve had of Les Mis. The plot is straightforward. Over a period of 17 years, Jean Valjean breaks parole, makes his fortune, constantly evades the unrelenting Inspector Javert, flees to Paris with the daughter of a woman he wronged, then gets caught up in the June Rebellion of 1832 amidst romance, turmoil and redemption.

In the role of Valjean, and with an incredible commanding voice was Dean Chisnall, playing alongside the superb Nic Greenshields (who I have seen twice in the role now) as Javert. The chemistry between the two was formidable.

Always good to have fresh talent so a pleasure it was to witness the professional debuts of Paige Blankson (Cosette) and Will Callan (Marius). I was extremely happy on the latter, having followed his journey during The Voice Kids in 2018 where he reached the final. A pity the online biography and program notes didn’t credit this.

Les Misérables – Milton Keynes Theatre – 20 May 2022

No performance of Les Misérables could be complete without the Thénardiers, this time perfectly portrayed by Ian Hughes and Helen Walsh. I never quite know if you should call them comic relief as they are so horrible, but I guess that’s good writing, to make people have a soft spot for something so vulgar. It is certainly ‘laugh out loud’ during Master of The House, particularly when the canary goes in the mincer.

Also giving strong performances were Rachelle Ann Go (Fantine), Nathania Ong (Eponine) and Samuel Wyn-Morris (Enjolras) among a cast of over 30.

The production on tour is directed by James Powell and Laurence Connor with musical supervision from Stephen Brooker and Graham Hurman. And there is still a way to go on this run, travelling the UK throughout the rest of the year and into early 2023. I’d advise you to catch it where you can.

Les Misérables – Milton Keynes Theatre – 20 May 2022

Cheers

Antony N Britt

Debbie Harry is nearly 77. Seventy-seven, God-dammit! I don’t know if that makes her old or me feel it. You see, 45 years ago, when I first discovered Blondie, I was barely fourteen years old myself. Once again, I am blessed that Blondie, like many of my favourite rock bands, are still about. I must have good taste for longevity. Okay, so due to Chris Steins’ ill-health, there were only two original members on stage: Debbie Harry and the brilliant Clem Burke on drums. But we also had Glen Matlock on bass, which was a bonus for me and the rock alumni of 1977.

Kicking off where it all began with X-Offender, a packed arena went back in time and unless you were in the first few rows (as I was) you’d be hard pressed to believe you were not seeing the band at their height during that era.

Harry hasn’t lost it a bit. Sure, after a handful of numbers, the heels had to come off as in her own words, she needed to get serious. But to still do a high-energy set lasting almost two hours is incredible.

We listened to hit after hit, but inexplicably, not Denis. That didn’t matter, and it was only afterwards I realised it had been omitted. There are so many more in the catalogue to rave about. Not just the early years, but from the post 1998 revival: Maria, My Monster, What I Heard, Long Time, Mother and best of all, one of my favourites, No Exit. All greeted with similar Rapture as the song of the same name.

But you also had the classics: Sunday Girl, Picture This, Dreaming, Call Me, Atomic, Heart of Glass … the list goes on. I was also overjoyed to hear Fade Away and Radiate in such an incredible set.

Save the best until last, Blondie finished with One Day or Another, a song so massive and popular, but never a single in the UK (until it charted digitally in 2013). This is the measure of a great song. No mainstream release but instantly recognisable.

The euphoria of the audience swept through the arena in one of the best gigs I have seen. Yes, even at that age, Harry rocks. Whereas myself and my partner (late 50s) hobbled back to the car afterwards, near unable to walk. Whatever Debbie Harry has, I’ll take some myself. Brilliant.

Cheers.

Antony N Britt

I’ve begun many recent reviews with comments about how hard it’s been during the numerous lockdowns for Performing Arts, and now it is the time for Dance Schools to have their say. Almost two years to the day that everyone was ordered to close their doors, Keeling School of Dance took to the stage with the aptly named, The Show Must Go On.

Keeling School of Dance was established in 1934 by Beatrice Keeling at the age of 14, operating from her parents’ house before continuing in the area, finally moving to Aldridge in 1976. Sadly, Miss Keeling passed away in 2014, having taught until 2012. It is good, though, that the school has continued, run by former pupils: Jane Eardley, Sarah Beckett, Elaine Wigfield and Clare Cooksey. Classes begin from age 2 right up to advanced level and adult beginners. Also on the teaching staff is former pupil, Fran Eardley, who performed widely in the show including Point Solo (Arabian Dance) and Lyrical Solo (You Will Be Found). And it’s great to see the more experienced pupils moving forward. Grace Chambers (Jazz Solo {Show Me How You Burlesque}) and Niamh Reynolds (Contemporary Solo {Godmanchester Chinese Bridge}) now teach the younger pupils while Natasha Evans (Contemporary Solo {Showstoppa}) oversees Street.

I last attended a Keeling showcase in 2019 and the positive progression of pupils was staggering to see. Several who were tots, some whom I’d worked with in Theatre before that time, were displaying quality and polished skills. How quickly three years have flown, but so much hard work has obviously happened during that time.

On show were examples from all classes Keeling provide: Ballet, Tap, Theatre Craft, Gym, Street, Contemporary, Jazz, Lyrical and Broadway. Yes, the little ones pulled the heartstrings in their Olaf costumes during When I Get Older, but it was the overall enthusiasm and determination to get everything right during all the dances which was the overriding memory of an emotional and exhilarating afternoon. In addition to the solos already mentioned, there was also Sax, an excellent tap solo from Nadia Fallouh. I cannot name everyone, the same I won’t single out more dances as this would be an overly long review and to be frank, I’d have to list them all.

There were two awards presented on the day. The Cooper Cup for progress was won by the previously mentioned Grace Chambers while the Keeling Cup for enthusiasm, commitment and improvement went jointly to siblings, Lizzie Powell-Heyworth and James Powell-Heyworth.

Grace Chambers, winner of the Cooper Cup with mum, Elaine Wigfield.
James & Lizzie Powell-Heyworth with the Keeling Cup.

This show wasn’t a vanity project for parents to see how good their kids were in a chosen field of the arts, it was to engage with the wider world and show that dance is an important part of culture and should not be ignored. Covid restrictions hit the arts badly and to bounce back fighting is a credit to the staff and pupils of Keeling. The students of today are stars of tomorrow and there were plenty on view during this showing.

Cheers.

Antony N Britt

Somebody once said to me that there were better Queen tribute bands out there than Queen & Adam Lambert. Now, I rarely do tribute acts, apart from when you can no longer see the real thing like Queen. So, how did Supreme Queen measure up to the dazzling legacy and did it beat the modern-day incarnation of the band?

Well, visually, it took time because obviously, they were not Queen, but the sound! With a voice so like Freddy Mercury, lead singer, Scott Maley immediately had me believing I was listening to the real thing. And that, I guess, is what you need with tributes. For tributes are what they are and to be successful you do need to believe. After a few songs, I forgot the physical differences and I experienced legends of rock.

Starting off with One Vision and Tie Your Mother Down, Supreme Queen treated a packed audience to hit after hit: Seven Seas of Rhye, Keep Yourself Alive, It’s a Kind of Magic and Under Pressure were among 25 instantly recognisable classics. I was also overjoyed to hear the fast (and, superior) version of We Will Rock You.

The set in the main modelled itself on the stadium tour songs of the mid-1980s. I guess when you have such an enormous catalogue, things must give way. Therefore, sparse on the early albums and nothing from the final three. A shame, but it’s probably what the fans want. And to be there, the audience most definitely were fans of Queen. Such energy and enthusiasm from Supreme Queen transferred onto those watching. And not just the oldies who formed the majority. It was also good to see younger members; teenagers with parents next to me and three children all under eleven in front with their family. It was clear all were brought up on the band, gloriously indoctrinated and now having the time of their lives. Brilliant. You see, we form many of our tastes based on those of others. I, myself, was into Queen aged 10, all because my elder sister had Queen albums in 1973 while my classmates went on to like The Bay City Rollers, .

The show divided into two sets, allowing audience and band time to recuperate and then we had more of the same: I Want to Break Free, Another One Bites the Dust, Radio Ga Ga and, of course, Bohemian Rhapsody. Mimicking Queen shows of old, Supreme Queen ended with We Will Rock You (single version) and We Are the Champions.

What we also had were two long drum and guitar solos. Now, I’m not a fan of Brian May and Roger Taylor’s musical masturbations, but they were mainstays of the original shows throughout Queen’s career, so I can see why they’re included.

Supporting Scott Maley’s Mercury was Luke Timmins (Brian May), Alan Wallbanks (John Deacon) and Allan Brown (Roger Taylor). In addition, we had Ben Marshall as the keyboard player Queen didn’t have but contributing the pieces Freddy Mercury would play. All were excellent. Let’s face it, to pull off being convincing Queens, you’ve got to be damn good at what you do, and Supreme Queen were that and more.

A thoroughly wonderful night. I will be back. Long live Queen.

Cheers.

Antony N Britt

Tom Bryce finds a USB stick on a train and brings it home to try and find its owner to return it. However, on viewing, he witnesses the murder of a young woman in an online snuff video. Tom is then threatened by the perpetrators to keep silent otherwise it will be bad for him, wife, Kellie and son, Max. However, Max fails to do so and Kellie is taken to be the next star performer.

I’m a huge fan of Peter James, although I only started reading him with the Roy Grace novels. I guess that makes Looking Good Dead the second book of James’ that I read many years ago. I’ve since read them all and am now going through the standalones’ back catalogue.

Looking Good Dead, like many stage productions, had a small cast so roles from the book were reassigned. In fact, Grace wasn’t the main character on this occasion, the Bryce family instead receiving the focus. However, it was nice for a fan to hear references to off-stage police persons like Norman Potting, Cleo Moray, EJ Bountwood and Alison Vosper, among others. It brought a bit more of the books to proceedings.

In the roles of Tom and Kellie Bryce we had Adam Woodyatt and Laurie Brett duplicating their Eastenders soap marriage and the chemistry between them was obvious. Woodyatt had been in Eastenders for 35 years until recently and although Tom was similar in character to Ian Beale, he was different enough to be a person in his own right. Both Woodyatt and Brett delivered strong, believable performances on the night and the same can be said for Luke-Ward Wilkinson as Max. There were some lovely scenes which portrayed the typical lack of communication between parent and offspring.

On the police side were Harry Long as Roy Grace with Leon Stewart in the role of Glenn Branson. Completing the trio of detectives was Gemma Stroyan as one of my favourite Grace characters – Bella Moy. However, I didn’t see any Maltesers on this occasion (You need to read the books to get that one). Supporting, also was Ian Houghton (Jonas Kent), Mylo McDonald (Mick) and Natalie Boakye (Janie).

Looking Good Dead looked good indeed with a main set of the Bryce’s living room with occasional illuminated cellar backdrop behind a gauze and pop-up police station. Transition between scenes were smooth and you did have the feel of everything being bigger than it was.

It was probably good that it has been 15 years since I read the novel as I couldn’t remember many details. I’m now intrigued to learn the differences but will wait for the ITV adaptation as this tale is next in line to air, then I may re-read the book. I’m pretty sure, though, the brains behind the kidnapping differed in the book.

Looking Good Dead was adapted for stage by Shaun McKenna and directed by Jonathan O’Boyle with Joshua Andrews as Producer.

Overall, an enjoyable evening and I look forward to further theatre outings for Roy Grace and Co.

Cheers.

Antony N Britt

I shall start with something unconnected to The Coral by stating that the O2 Institute in Birmingham was the most difficult venue to get into (on numerous counts) in over 40 years of attending music gigs and theatres. And with a management policy ignorant of autism.

So, I was in a bad mood before we started, and I was looking for The Coral to lift me. Thankfully, they did, although I was not particularly a fan of the show format, being a 20th anniversary celebration of their self-titled debut album.

Don’t get me wrong, I love the 2002 offering; it has great tracks. But I also like songs from the subsequent nine, therefore, when the opening 11 numbers come from one album, the remainder only average one per subsequent release in a shorter set than most gigs with just 19 numbers in total.

From the first album set and following Spanish Main, standout numbers were Shadows Fall, I Remember, Dreaming of You and the epic Goodbye. I say epic because played live, the extended instrumental break during Goodbye is out of this world. Bisecting the album and second set was the hidden track Time Travel while the band took a short break. And then we had the best of the rest.

Starting off with Bill McCai and Pass it On, The Coral also treated the crowd to a couple from the 2021 release, Coral Island. Now this is where I felt the most disappointment because Coral Island was one of the best releases of last year. To only get two tracks from it, and a double album at that, left me feeling short-changed. The two on the night were Faceless Angel and Lover Undiscovered, but I would dearly have loved to hear Vacancy, among others. Still, of the remaining offerings we did get In the Morning, Holy Revelation and my own personal favourite Coral track, Jaqueline.

The Coral produce original music with a touch of nostalgia, sometimes harking back to the psychedelia of the 60s and fluctuating between melodic and raw energy. The sort of music you can lose yourself in, and long may it continue. In addition to the full-time current line-up of the band (James Skelley, Paul Duffey, Nick Power, Ian Skelley and Paul Molloy), Zak Mc Donnell and Danny Murphey join live proceedings to achieve a massive sound which in a smaller venue like the O2 Institute, makes for something special. I just wish we would have had more from them, even just a further 10 minutes.

So, not the most enjoyable Coral gig I have been to, due to the set content, but still a great night out.

Cheers.

Antony N Britt

First and foremost, I’m a Stranglers fan. So much so, in my 2015 novel, Dead Girl Stalking, my protagonist had a poster of them on his bedroom wall, and he defended the band from the derision of his girlfriend whose tastes were probably more R&B. I even acknowledged the band at the front of the book as having provided a running soundtrack while writing it. So if you ever do read Dead Girl Stalking, have a little Don’t Bring Harry or Baroque Bordello at the back of your mind.

My own love affair with The Stranglers began in 1977 with a BASF C-90 taped recording of Rattus Norvegicus. A multitude of albums and 21 gigs attended, that dalliance long ago became a full-blooded relationship. I have many favourite bands but if I’m honest, the one I could not live without are The Stranglers.

The last two years have affected everyone in varying ways, none more so than the Family in Black. The loss of Dave Greenfield in 2020 was that of a family member. A constant companion, friend, and lover, all through the years I have followed the band.

Yeah, I admit, when I first heard the news of Dave’s passing, I thought, “Well, that’s it.” I couldn’t see how the band could continue. Members, some of them huge, have departed over the years but along with the trademark bass of Jean-Jacques Burnel, Dave Greenfield’s keys are the sound of The Stranglers. So I was glad when the tour still took place in memory of Dave and ecstatic when the 18th studio album, Dark Matters, was posthumously released with Dave’s keyboards present. Within the opening minute of Water, I fell in love with Dave and The Stranglers all over again. But how would they be live without the great man on stage?

The answer was – superb. From the opening bars of Waltz in Black, I had that buzz I’d not felt for so long. Then the euphoria as the band took to the stage and launched into Toiler on the Sea. The Stranglers were back.

One massive change as Toby Hounsham had the unenviable task of taking the keyboards and was described by guitarist/vocalist Baz Warne as having massive balls to do so. Toby was brilliant, in fact, reproducing Greenfield’s arpeggios and sounding just as good as any other Stranglers gig I have attended. It was also nice to see Toby well received by the faithful, thankful, like myself, that the magic is not over. As JJ Burnel stated in the past, The Stranglers are a brand, not a band, so there is no reason they should ever end. I guess it’ll happen one day but aged 58 myself, I can be selfish and hope they don’t go just yet.

On the night we were treated to classic after classic: Something Better Change, Always the Sun, Strange Little Girl, Go Buddy Go, Golden Brown, Hanging Around, Sometimes and Skin Deep among many others. But we also had six new songs from the brilliant Dark Matters. Water, Last Men on the Moon and This Song, fans are already familiar with, having done the circuit on the last tours before Covid. But there was also a debut for White Stallion, which I believe will become a permanent fixture in future tours like Relentless has been since 2006.

It’s always good to witness The Stranglers gel. I’ve followed them from near the beginning but can honestly say in recent years they have never been better live. JJ and Baz come across as two who are on the same page. This also applies to the newer recruits. Jim Macauly on drums has been with the band several years now and even contributed to songs on Dark Matters. And along with Toby Hounsham, provided great backing vocals on several numbers, just as Mr. Greenfield did for many years.

The other two new songs were performed as a JJ/Baz duet during the first of two encores. The short acoustic, The Lines was excellent before a poignant and highly emotional version of And if You Should See Dave. Written as a tribute, there was many a watery eye during the line, “This is where your solo would go.” The empty keyboard lit to all round applause and cheers.

As the case is so often, The Stranglers finished with No More Heroes, always guaranteed to bring the house down. Thankfully, I do still have heroes and hopefully, mine will be here for some time yet.

Cheers.

Antony N Britt

“One of the least known stories of the First World War.”

That was the opening blurb of the advert, and I was intrigued. I’m no fan of the British Empire; its atrocities make modern day Isis and Al Qaeda look like beginners in the human rights stakes: The Boer concentration camps, the massacre at Amritsar, the famines in India during 1940 and the subsequent partitioning years later. All are now known but still little talked about. But who were the Chinese Labour Corps?

Towards the end of the First World War, the British Government needed a workforce to continue its campaign. Therefore, the Chinese government, wanting to establish itself as a world power offered its own labour to help the shortages. Over 100,000 men from the Northern Chinese Provinces travelled to Canada, then onto Europe to help in a war they knew little about. Most worked as unskilled labourers in appalling, dangerous conditions near shellfire and were terribly malnourished. At the end of the campaign, up to 20,000 had died and for a hundred years, mostly forgotten.

I am therefore indebted to the author of The Chinese Labour Corps, Walsall poet and playwright, Ian Henery, for illuminating me on a subject I now want to know more about. An excellent story (additionally adapted by Emma Cooper) where the audience went on an eye-opening journey of life one hundred years ago.

Although only a cast of four, the story moved seamless from one scene to the next and was almost immersive with a feeling of being a part of proceedings. Fully rounded characters who you believed in, felt empathy for, and got to know intimately.

The Chinese Labour Corps – The Blue Orange Theatre Birmingham – February 4 2022

Our cast were Nathaniel Tan (Sun Gan – a teacher), Amanda Maud (Chinn An Chu – a woman pretending to be a man to enlist), Tao Guo (Lin Cheng – who leaves his family to earn money) and Ali Taheri (Liu Den Chen – the loveable rogue who does his best to make money in other ways).

The stage movement, courtesy of Director, Marcus Fernando worked well, particularly the drowning of workers during the sinking of the Canadian ship. Poignant and emotive. And the knowledge that when Chinn An Chu returned home, her father had died, having spent none of the money she sent back to him. But there was also humour, especially the sending up of a British Sergeant. Then you had both humour and sadness mixed. The beautiful scene where Lin Cheng recovers in a Field Hospital and befriends a young English nurse, Miss Alice. They play music together, badly, before life is cut short amidst the jollity when Alice falls prey to the horrors of war when the area is bombarded by opposition fire. Notice I do not use the word, enemy fire. For me, especially in this war, there was no enemy, only different sides. It’s something we could all learn.

The Chinese Labour Corps – The Blue Orange Theatre Birmingham – February 4 2022

A highly entertaining and informative evening at The Blue Orange Theatre. Not only did I enjoy the production, I also learned something too.

Cheers.

Antony N Britt

Failing guitarist, Dewey Finn, takes a job under false pretenses in an exclusive and expensive private school. He then teaches his class to play rock music and forms a band with them to win a prestigious competition.

Yes, I love rock, and I love musical theatre, therefore it is no surprise that I adore School of Rock. Closely based on the 2003 film of the same name, this is the best feelgood musical going these days. The notion that dreams come true, and you really can do anything if you try. It lifts the audience to their feet, and not just in the finale. With a cracking script from Julian Fellowes, lyrics courtesy of Glenn Slater and music by Andrew Lloyd Webber, you have the instant recipe for an outstanding show.

I first saw it in the West End but this UK tour for me was even better. Perhaps knowing the songs so well, I was singing and moving in my seat throughout. Also revelling in admiration for the kids who do play their own instruments. Such talent from all.

In the title role, and totally at home as the hapless Dewey Finn was Jake Sharp. Outstanding with the strongest of performances and excelling in all numbers. Alongside, playing school principal Rosalie Mullins was Rebecca Lock who delivered Where Did the Rock Go? and Queen of the Night in great fashion. Supporting well, though were James Bisp as the much put-upon Ned Schneebly with Amy Oxley portraying the domineering Patty.

And then there were the pupils of the School of Rock. What can I say? The twelve on show during this viewing were out of this world. Harry Churchill (Zack on Lead Guitar), Angus McDougal (Lawrence on Keys), Chloe Marler (Katie on Bass) and Eva McGrath (Freddy {Fredrica} on drums). I’ve only ever known Freddy as the male originally intended but Eva was brilliant as the student who struggled to achieve. I had great empathy for her.

Leading the vocal section was Angel Lucero as shy Tomika and she delivered a powerhouse of a performance in Teacher’s Pet supported well by Lily Rose Martin (Marcy) and Elisha Kerai (Shonelle).

As a huge fan of The Voice Kids, it was a surprise and joy to see 2019 finalist Keira Laver as school swot, Summer. And Keira was amazing leading the class during one of my favourite numbers, Time to Play. Completing the class of excellence were Riotafari Gardner (James – Security), Ava Masters (Sophie the roadie with the killer pigtails), Alex Shotton (Mason on Lights) and Logan Matthews (Billy the costume drama queen).

Credit is due to a fantastic production team including Laurence Connor (Director), Joann M. Hunter (Choreography) and Michael Riley (Musical Direction).

In addition to the songs already mentioned, there are others of top-drawer quality: When I Climb to the Top of Mount Rock, the beautiful If Only You Would Listen, You’re in the Band and the awesome Stick it to the Man.

I have favourites in musical theatre which change constantly. I can honestly say, though, leaving The New Alexander, I have never enjoyed myself in a theatre as much as I did on this occasion. Buzzing madly and still on a high days later. School of Rock is touring the UK until the end of summer and if you only go and see one musical in 2022, make it The School of Rock.

Cheers.

Antony N Britt

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