Category: Reviews


I have a confession to make. I had never seen Phantom of the Opera until this experience. Sure, I’m familiar with the Andrew Lloyd Webber music, having played the soundtrack for years and have also seen the 2004 film version. However, I always thought the first time I saw Phantom it should be at its traditional home of Her Majesty’s Theatre in the West End. That was until I discovered it being performed local to me by Birmingham Ormiston Academy (BOA).

Now, I’m no stranger to BOA, having seen and reviewed two of their Year 13 productions in The Witches of Eastwick (2016) and Sister Act (2018). Both were of the highest quality, talent surpassing the years of those on stage. Therefore, when I searched out this years’ offering, I had no hesitation in breaking my promise of waiting for London. I knew I’d be in for a treat with BOA and boy, I was not disappointed.

As before, the academy provides four performances with the cast split into A and B (Two each). The fact they can produce this with two entirely different casts of the same calibre makes it more amazing. I won’t go over the plot as really, if you’re reading this, you should know it. What I want to do is laud as much praise as I can on the remarkable BOA students.

In the role of The Phantom on the night we had Llewellyn Graham who captured the role with mystery, character and great voice. Then, speaking of voice, we had our Christine Daaé. OMG! Colleen Curran was amazing. I have witnessed leading ladies in professional shows who were not as good. An outstanding performance. I was on the edge of my seat during Think of Me with goosebumps on my arms, it was so magical. See you in the West End one day, Colleen. Equally, Rhiannon Street as Carlotta owned the stage with her presence. A fabulous voice and acting which totally exploited the character the way it needed. Then, playing Raoul was Sam Astbury who complimented his love interest in great fashion. Much good chemistry between the two.

An interesting take on the original tale saw André and Firmin played by in Kitty Hosty and Libby Clifford respectively. I know these are generally male roles, but these two worked so well, providing much comedy in a wonderful double act. Rounding off the principals were Niamh Slater (Madame Giry), Katherine Lester (Meg) and Leo Carl Abad (Piangi). Each once more than attained the high standards of others on stage. And that went for the rest of the cast too, which was massive. Wonderful ballet routines added to great sound from the chorus during musical numbers with lots of interaction and characterisation.

Then we had the effects. Yes, the chandelier came down (and made everybody jump, even though I suspect half the audience knew it was coming). Also, there was good use of the set for the signature number where The Phantom takes Miss Daeé into the catacombs. A successful use of doubles also made this appear like the long journey down into the depths it’s meant to be. Mood and magic were consistent throughout until that final scene where The Phantom disappears into his chair, leaving Meg Giry alone on stage with the mask. Both chilling and beautiful.

Of the musical numbers, there are many highlights: Phantom of the Opera, Music of the Night, All I Ask of You, Masquerade, Wishing You Were Somehow Here Again, The Point of No Return … Hell, I could list the lot.

In charge of production was Dan Branch with musical direction of a good band by Daniel Summers. Choreography was from Lee Crowley, assisted by Lucy Jennings and Georgie Meller.

I began by saying this was my first experience of the show. My partner, who accompanied me, has seen it both in the West End and on tour. Her verdict was that this surpassed both. These student productions are not just for parents to watch and credits towards an education, they are welcome inclusions in any theatre schedule. I thoroughly recommend them to be checked out. I know I’ll certainly continue to do so.

Phantom of the Opera – The Old Rep Theatre, Birmingham – 22 March 2019

* Post to this review being published, I’m informed all production and tech were completed by students too, making the entire process more amazing. Full details kindly supplied by Heather in the comments section below. Thank you.

Cheers.

Antony N Britt

Many thanks to BOA for providing cast names for this article.

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I first saw Avenue Q years ago, therefore when I heard of a touring production coming to my area, I had no hesitation taking a second helping.

Avenue Q – New Alexandra Theatre, Birmingham – 16 February 2019

Avenue Q is Sesame Street grown up – and totally corrupted. Simple, but it works, and there are numerous messages in the show which we may not wish to admit to – but are oh so true. With a book by Jeff Whitty, plus music and lyrics from Robert Lopez and Jeff Mark, Avenue Q has been entertaining audiences for years, and this packed New Alexander Theatre experience was no exception.

For those not acquainted, Avenue Q features puppet characters alongside three humans, interacting with each other. The puppets are animated and voiced by actors, who although unconcealed onstage, are completely ignored by both human and puppet characters. All puppeteers wear black to minimise distraction as opposed to the colourful clothing of the humans. This works and you soon focus on the puppets as though they were real.

The script to Avenue Q is funny, well-written and backed by an excellent selection of songs. These include Sucks to Be Me, If You Were Gay, There is Life Outside Your Apartment, I Wish I Could Go Back to College and For Now. But I also have special favourites. Everyone’s a Little Bit Racist totally speaks the truth while There’s a Fine, Fine Line would be at home in any musical. Also, The Internet is For Porn, which will bring the house down every time. “Me up all night honking me horn to porn, porn, porn.” Oh yes!

Then we come to the scenes. No matter how many times I see it, I will never be ambivalent towards puppet sex. And the dream sequence … “I know, put my earmuffs on the cookie.” But we also have the closet gay (Rod) singing My Girlfriend in Canada who “Comes from Vancouver and sucks like a Hoover.” The song then finishes with the words, “And I can’t wait to eat her pussy again.” I do have to admit, I’ve played around and used that line on many a musical theatre song at the end, just to hear how it sounds.

A great night with a brilliant cast led by the puppeteers: Lawrence Smith (Princetown/Rod), Cecily Redman (Kate Monster/Lucy the Slut), Tom Steedon (Nicky/Trekkie Monster/Bad Idea Bear), Megan Armstrong (Mrs Thistletwat/Bad Idea Bear/Second Arm), And then the humans: Saori Oda was brilliant as Christmas Eve as were Oliver Stanley (Brian) and Nicholas McClean (Gary Coleman). Yes … this is meant to be Gary Coleman from TV’s Different Strokes. Ensemble were: Jasmine Bell, Ellis Dackombe, Chloe Gentles and Robbie Noonan.

Directing and choreographing Avenue Q was Cressida Carre with musical direction from Dean McDermott.

If ever you get the chance, I would certainly recommend a trip down to Avenue Q. I guarantee you’ll enjoy being in the neighbourhood.


Avenue Q – New Alexandra Theatre, Birmingham – 16 February 2019

Cheers.

Antony N Britt.

It’s always a privilege to witness youth productions so I was delighted to attend this showcase from Walsall College’s Supported Learning Performing Arts Students.

A Showcase of Performance Work – Walsall College – !4 February 2019

With my background in autism, I’m all for inclusion, and my recent 2018 Sleeping Beauty Pantomime highlighted this with two of the cast members taking part. Performing Arts is for everyone, and a way people can express themselves.

On the night we were treated to music, dance, sketches and monologues, plus other spoken word. And what a joy it was to see the diversity of talent.

Kicking the evening off were the Level 1 Diploma Group dancing to Hairspray’s You Can’t Stop the Beat. A nostalgic trip for me, having danced this in panto (In full Captain Hook costume) a couple of years back. Further dances came with Stray Cat Strut although my favourite was a medley of Smooth Criminal, Don’t Stop Me Now and Mr Blue Sky. Come on, you can’t beat a bit of Elo and Queen. Also by the Diploma Group was a poignant tribute to fallen heroes with music and spoken word. This included The Sounds of War written and delivered by Mikail Ali. As both a writer and performer, I know first-hand how much harder it is with your own work as opposed to someone else’s. And we also had Alisha Clarke, reading from her novel, The Black Rose. Talent indeed.

The second of three learning groups were the Level 1 Certificate Group whose Latino Jazz Vibes was clever and entertaining. This group also rounded off the wonderful evening with When I Kissed the Teacher (No better way to end the show than Abba). However, they were also responsible for many monologues and sketches, the highlight of which for me was a wonderfully delivered piece by Imogen Williams titled, Sorry I’m Late.

The longest section of the show was an adapted version of The Wizard of Oz from the Entry Group 3 students. A delight from start to finish made more so by the wonderful performance of Abdul Raheem as the warlock whose wicked laugh had the audience in stitches. Following this the group then entertained with a mime to the vocals of Gemma Wyke with Somewhere Over the Rainbow.

Credit goes to all students, though. Namely: Tom Andrews, Ayrshire Grant-Cable, Chris Cribb, Kane Hedley, Adil Hussain, Leighton Lewis, Sean Rogan, Devonite Smith, Olivia Tolley, Shantae Watson, Imogen Williams, Mikail Ali, Alishia Clarke, Symone Cunningham, Simranjit Dhillon, Dean Fields, Stuart Foster, Katie Henworth, Eleanor Peat, Brandon Pope, Jessica Matthews, Lauren Robbins, Matthew Britt, Ainsley Edwards, Stephen Miller, Abdul Raheem, Kirsty Startup, Jordan Titley, Ben Twells and Gemma Wyke.

The show was directed and choreographed by Thomas Armstrong, Katie Fieldhouse, Tanya Lewis and Emma Speake.

It’s all very well learning, but this must be fun, and there was evidence in abundance these gifted students were having just that – a great time. In fact, these young people are more than capable of progressing and would be welcome additions to many a dance and theatre company.


A Showcase of Performance Work – Walsall College – !4 February 2019

Cheers.

Antony N Britt

I’ve never reviewed a music album before. As you will see from my previous, I mainly do rock gigs and musical theatre reviews. I’m also not interested in TV talent contests, most of the time. However, for two seasons I have been watching The Voice Kids (UK version) and am totally captivated by the talent of these youngsters which often surpass their years. One such is Lucy Thomas and I was delighted to learn she had gained a recording contract through Cavendish Records resulting in a debut CD, appropriately titled – Premiere.


Album Review – Lucy Thomas: Premiere

Lucy was one of three favourites of mine from the 2018 series (None of whom made the final, strangely enough). A travesty, and I still stand by my opinion that Lucy was the best and more so now based upon the resulting 12 tracks on Premiere.

At the time of release, Lucy is still only 14, and it defies belief when you listen to not only the purest of voices, but one which is so much the finished article. Up there with the best.

Premiere is a delightful mix of musical numbers for anyone with a love of the stage and screen. Opening we have Never Enough from The Greatest Showman. Way ahead of the rest (personally speaking) in being my top tune from that movie. And with this version, I have no hesitation saying Lucy’s is better than the original.

Next, we move to a classic; a tale as old as time with Beauty and the Beast. The words and Lucy’s voice are hypnotic. A true fairy tale in vocals. And these are just for starters. Other tunes include Let It Go (Frozen), Listen (Dream Girls), Someone Like You (Jekyll and Hyde), Defying Gravity (Wicked) and a second from Greatest Showman in Tightrope.

But Lucy also works well with other artists, duetting for two numbers with fellow Voice Kids contestant (and finalist), Will Callan. First, they perform Can I Have This Dance. Now – ahem, I have never watched or listened to High School Musical 3, but this is a lovely tune made special by two great voices. The second collaboration appears with the final track on the CD – The Day I Met You. This and three further songs on Premiere (Starlight, Suddenly and One Day) come from a new musical, Rosie (written by Chris Broom), and are all sung with the same excellence as the rest on the album.

I am so glad I made this purchase and listen to it a lot. I now also watch with interest at a fledgling career developing into a big one. I do hope there is more to come and looking at Lucy’s website, we see evidence of past performances in musical theatre. Maybe one day soon we will hear some of these massive tunes with Lucy in the West End or on tour. That must be the aim, and I think she can make it.

Album Review – Lucy Thomas: Premiere

You can buy Premiere through many outlets but also here from Lucy’s site.

Cheers.

Antony N Britt.

I’m always excited to encounter new talent and in Cinderella, Coleshill Operatic Society certainly delivered the goods.

Cinderella – Coleshill Town Hall – February 1 2019

This pantomime had all the ingredients one would expect and more. From the obligatory “It’s behind you,” to doses of “Oh no it isn’t,” we also saw tricycle riding dames and even a pantomime horse (Something I’ve not seen for a few years). I did laugh, though, during the bows when one child shouted out “Where’s the horse?” Come on, give the cast their moment.

The show had a bright opening with a number from Hairspray, renamed Good Morning Balti-More. This set the tone for an evening of high entertainment which didn’t disappoint. The only downside I found was the script, and I know it’s the script because I’ve experienced this version before and made similar comments in my review back then. Some scenes were over wordy with not enough jokes. This meant the cast carrying the show through talent and character which I am glad to say they did in abundance.

Two stand-out roles for me were our romantic leads in Lucia Owen-Small (Cinderella) and Molly Bennett (Prince Charming). Both portrayed their parts in superb fashion and excelled in the duet, Love at First Sight. Supporting well, though, was Jack Deakin playing a wonderfully camp Dandini and Joyce Eyre as our Fairy Godmother. Then, holding everything together, we had the reliable and lovestruck Buttons (Tom Willson). Now, I always feel sorry for Buttons as everyone really wants him to win Cinderella’s hand, but we know he never will. This is something that needs addressing (laughs wickedly) one day by a brave writer. You see, I always find it weird that Charming states Cinders is the most beautiful girl in the world, yet he can’t recall what she looks like without trying on a shoe.

Comic relief came from two sides. First, we had our Ugly Sisters in Chardonnay (Kelvin McArdle) and Shiraz (Lloyd Cast). Now, personally, I am not a fan of the traditional masculine dame, feeling the role has had its day, however, these two did what it said on the tin and thoroughly entertained the audience throughout. And we had a second helping of pantomime stooges in Mr Snitch (Pete Slater) and Mr Snatch (Jeff Martin), both going about their characters’ incompetence in a very Chuckle Brothers’ style. Rounding off our principals was a dastardly evil Lady Devilla (Natalie Broacher), the weak-willed Baron Hard-Up (John Kerr) and Major Domo (Robert Dutton). Oh, and I can’t forget the two halves of Bright Eyes in Clare Willson and Rachel Evans.

So many more good tunes during the show, among them: I’m a Believer, You’ve Got a Friend in Me and How Can I Live Without Your Love. One delight for me, though (and a complete shock), was the inclusion of What Do I Do Now? from A Slice of Saturday Night. Reason for this, it was the most obscure number used in my own Sleeping Beauty pantomime last year and I’m amazed anybody else had heard of it (Nobody in my company had). Brought tears to my eyes hearing it. And preceding the bows, a little audience participation with the jolly (but terribly irritating) I Like the Flowers, a song guaranteed to stay in your head for days. Well … it’s for the kids, isn’t it.

Direction for Cinderella came courtesy of Tim Willson with choreography by Rachel Evans. Then, leading a good three-piece band on top of musical direction was Tim Harding.

Coleshill seems a friendly society and everyone on stage looked to have enjoyed performing the show as much as those in the audience did watching it. My first opportunity to witness this society but not my last.

Cinderella – Coleshill Town Hall – February 1 2019

Cheers.

Antony N Britt

This was my fourth time seeing Frank Turner and first in an arena venue. And as with previous experiences, one thing you can guarantee from Frank is entertainment. So much energy, the guy and the band keep going at a breath-taking pace, much like Frank’s work schedule.

Frank Turner and the Sleeping Souls – Birmingham Arena – 22 January 2019 © Antony N Britt 2019

We are informed this is show 2299. Now, even if you divide that by his adult years, it still averages out at well over one hundred shows a year. Then you consider the seven studio albums since 2007 and you appreciate the tag of The Busiest Guy in Rock. However, there is a downside. With a huge catalogue of songs, it does mean many of my favourites are left out of a two-hour set. Dammit, I’ve still never heard Father’s Day live!

Still, with each new studio album comes a host of material and 2018s Be More Kind is no exception in quality: 1933, Blackout and Little Changes are but to mention three of these. Mix with the back catalogue and you have a show that delights the fan and hopefully pleases recent converts.

Always great to hear Photosynthesis, Recovery, The Road, Don’t Try This at Home and I Still Believe. Also, my atheist anthem, Glory Hallelujah. Heck, my evening was complete. Well, complete bar Father’s Day, Frank. It was also pleasing to hear Love, Ire and Song, not played for a few years, apparently.

Frank Turner and the Sleeping Souls – Birmingham Arena – 22 January 2019 © Antony N Britt 2019

We had music, crowd surfing, plus a little dance with audience members for the final number, Four Simple Words. I was exhausted merely watching. Good humour and banter along with crowd participation. And an apology for missing Birmingham out last time around. In fact, this was my first reunion with the man in five years as previous local shows have coincided with productions of my own. I hope the next isn’t too far away, probably at this rate, with a new album. And let’s not forget the Sleeping Souls: Ben Lloyd, Tarrant Anderson, Matt Nasir and Nigel Powell, always a magnificent contribution to the show.

The only thing I would note as a minor negative is nothing to do with Frank Turner, it’s just the crowd were not as lively as my previous encounters. This could be to do with a larger arena venue and maybe the energy is less likely to be infectious due to the greater number of people to share it with. I didn’t care. It was a great show by a great showman.


Frank Turner - Be More Kind Signed

Cheers.

Antony N Britt

My only other experience of a Birmingham Rep festive production was three years ago with a very lacklustre (and far too arty) The Lion, The Witch and The Wardrobe. So, how did The Wizard of Oz compare?

The Wizard of Oz – Birmingham Repertory Theatre – 13 January 2019

In his programme notes, director Liam Steel states he didn’t want the production to be a carbon copy of the 1939 MGM musical (No problem there) while saying something about the world today. Now, I am a big advocate of updating films, TV, or stage shows into modern versions, but this wasn’t achieved here. With no clear vision, what we had was a mismatch of old and new which couldn’t decide what it wanted to be.

Yes, the cast were talented, and visual effects, despite being ambitious, paid off, especially the phantoms in the forest. But that’s where greatness ended. This was the end of the run and you would expect the cast to want to bow out with a bang. What you got, though, was a feeling of those on stage going through the motions.

One of the main problems is the original template which the team had to work with. The script is dull, my God, and I don’t mean mildly, either. Clunky dialogue was delivered too fast at times and I was thankful for the subtitles. And perhaps the memory cheats but I can’t remember the film being this boring. There are no sub-plots with scenes overly drawn out, making this a very long trip to the Emerald City. Into Act Two, with surreal moments meeting the Jitterbugs and Winkies (Yes … I know), this wasn’t enough to stop one of my party falling asleep.

Performances were okay but I had little or no empathy with the characters. When watching a stage performance I like to be drawn into that world, something which should come easy with The Wizard of Oz. But I had none of that.

I expected the show to be colourful and fast-paced. Instead it was drab and tedious. Costumes appeared to have come from a charity shop and whether this was an intentional concept, all it succeeded was to give the impression of cheap. And why was the Lion dressed to look like an Oompa Loompa?

One other point, we had a lovely little dog playing Toto in Kansas, however, when transported to Oz, the live dog was replaced by a puppet. Nice idea but the puppet did nothing bar hang around in the background looking neither funny or clever.

Something of interest to also note: We are told at the end Miss Gulch has broken her arm (or leg. By now I didn’t care). Well, if that’s the case, she still has the court order and is free to come and kill Toto when she recovers.

Musical direction was by George Dyer. However, I felt the orchestra was subdued at times and lost underneath the vocals. Also, there seemed little choreography. Very disappointing.

Playing Dorothy (whose Kansas accent disappeared after twenty minutes) was Chrisara Ago. Other cast members included Kelly Agbowu (Lion), Ed Wade (Scarecrow), Dillion Scott-Lewis (Tin Man), Lorna Laidlaw (Wizard), Jos Vantyler (Wicked Witch of the West), Thomas Vernal (Oz Guard) and Shanay Holmes (Aunty Em).

So, a second chance at the Rep for a festive show and a second dud. Don’t think I’ll try again.

The Wizard of Oz – Birmingham Repertory Theatre – 13 January 2019

Cheers.

 

Antony N Britt

Always a good show from Bournville Musical Theatre Company (BMTC) and The Best of British was no exception.

The Best of British– Dovehouse Theatre, Solihull – 27 October 2018

Split into several sections in either act, we had a powerful opening with two James Bond numbers (Live and Let Die and The Writing’s on the Wall) led by Rob Wheeler and Claire Brough, respectively.

An early joy for me were two tunes from Me and My Girl, a show I am due to perform in May. Here, a jolly Leaning on a Lamp from Kris Evans (and dancers) followed by the lovely Once You Lose Your Heart (Michelle Orton). A magic moment, indeed. Then, a great offering of Sweeny Todd’s, Worst Pies in London from Natalie Buzzard who is surely one of the best character actresses on the amateur dramatics circuit.

Now, I didn’t know what to expect from A Poultry Tale as the version from Honk I am familiar with is a bit lame (if you forgive the duck pun). However, Bournville’s full company outing was full of life and humour.

BMTC is a wealth of talent and it was pleasing to see many previously not in the spotlight, given the chance to shine. Magic moments came from Lily Moore (All That Matters), Greg Boughton (If Ever I Would Leave You), Rachael Fox (Don’t Cry for Me Argentina), Chloe Turner (As Long as He Needs Me) and Teresa Fittro (The Mist). And then we had a wonderful nostalgic trip (literally) with Those Were the Days, sung with great feeling by Sarah Debono.

It wasn’t only solos though. Chloe Turner led the ladies well with Somebody to Love while Jimmy Van Hear did likewise with the lads in The Stars Look Down. Now I’m not a fan of the Lion King’s Circle of Life but fronted by Lisa Colvin-Grieve, this company number really stood out. Fun was had with a surreal Always Look on the Bright Side of Life (Chris Britt, John Clay and Company) and The Song That Goes Like This (Phil Snowe and Siobhan Ganley). Finally, the show was rounded off with a full company presentation of Raise You Up.

In May, BMTC perform Oliver and we had three tunes to promote this in Who Will Buy, Oom Pah Pah, and the previously mentioned As Long as He Needs Me. I can guarantee from this evidence the audience will be in for a treat and you can get your tickets here.

The production and some choreography from The Best of British was in the hands of Kris Evans and Adam Slack with musical direction from Chris Corcoran. Additional choreography was split between Helen Gauntlett, Karen Lane, David Page and Chloe Turner.

The only downside on the night was the curse of Am Dram in the form of sound problems, but that was vastly overshadowed by the Best of British talent.

The Best of British– Dovehouse Theatre, Solihull – 27 October 2018

Cheers.

Antony N Britt

First time seeing Sutton Coldfield Theatre Company and a first watching All Shook Up.

All Shook Up is loosely based on Shakespeare’s Twelfth Night and supported with music by various songwriters, made famous by Elvis Presley. A simple plot by Joe DiPietro is funny and well-written, but it’s the familiar tunes which get the audience going.

Launching full company with the massive Jailhouse Rock, we were treated to excellent voice and dance, full of energy. And then the hits kept coming: Heartbreak Hotel, One Night with You, Teddy Bear/Hound Dog, Blue Suede Shoes, Don’t Be Cruel, A Little Less Conversation, Fools Fall in Love and of course, All Shook Up. I normally only list half a dozen in my reviews but this show is an exception. And that’s before I reach my own personal favourite – Can’t Help Falling in Love which I like for my own reasons. Another good number was Let Yourself Go which included a great scene in the museum where the statues come to life. The show ends with Burning Love where the cast have their moment and are allowed, quite rightly, to go wild. And much deserved an ovation they got.

Leading the line with a strong voice was Adam Gregory, playing Chad, while opposite we had Lucy Surtees, also in great form in the role of Natalie/Ed. Supporting well in their principal roles were Tony Orbell (Dennis), Kerrie Davies (Sylvia), Ben Green (Jim), Chloe Child – who had one of the loveliest smiles I’ve ever seen (Lorraine), Ed Mears (Dean), Louise Grifferty (Matilda), Vanessa Morgan (Sandra) and Ben Adams (Earl).

All Shook Up was directed by Elisa Millward with musical direction from Sheila Pearson and choreography, Maggie Jackson.

This show is a period piece with a modern feel and the traditions of an old-time farce. Something for everybody, even if you’re not an Elvis fan. And then you have the wonderful job Sutton Coldfield Musical Theatre Company did in bringing it to an audience. I always say I enjoy watching an amateur company as much as professional productions, but there was nothing amateur about this. Right up with the best. All Shook Up is a show which must be real fun to perform, and this transfers well onto the audience.

Great theatre company, great show.

Cheers.

Antony N Britt

Two years ago, Third From The Right Productions introduced me to a brilliant show I’d not heard of: Shout! And now they’ve gone and done it again with the excellent Disenchanted. This Off-Broadway musical is the brainchild of Dennis T. Giacino who wrote the book, music and lyrics.

Disenchanted tells about several fairy tale princesses whose stories have been corrupted by that most evil of beings – Disney. These are characters gone wrong, and in spectacular fashion. Very off-the-wall and tongue-in-cheek.

Bemoaning the fact they often seem to be vulnerable and in need of rescuing by a handsome prince, our princesses put the record straight. Life is not all happy endings with reality very different. It’s a sentiment I totally approve of, as will be seen by anybody attending my own self-penned pantomime in November; ironically, Sleeping Beauty, from AMCS.

Leading the disenchanted we had a fearsome Snow White (Natalie Baggot), a dreamy Sleeping Beauty (Gaynor Whitehouse) and a fluffy-headed Cinderella (Jo Foley). Foley’s performance reminded me, in looks as well as character, of Emma Chambers’ Alice in The Vicar of Dibley. Combining well for Once More Happily Ever After and A Happy Tune, the three were present throughout much of the performance, supporting, complimenting and downright bickering.

Also present were Gillian Homer (Pocahontas), Amy Pearson (Mulan – who may or may not be a lesbian) and Kaz Luckins (Rapunzel & The Princess Who Kissed A Frog). Then we had the out of rehab, Little Mermaid (Sarah Coussens) and Princess Badroulbadour (Kerry Davies). The latter also played my favourite character in the show, the clinically insane Belle, singing (of course) Insane.

Each of the cast contributed to great all-round entertainment. A breath of fresh air which the only shame is afterwards, I can’t find evidence of a CD Soundtrack anywhere. Damn! I want to relive the moment.

Other top numbers for me were: Honestly, Big Tits and All I Wanna Do is Eat. Then there was Not Von Red Cent, involving audience participation in the form of a sing-off between the front row right and … the rest of the audience. Guess where I was sitting? I don’t think we did too bad, though.

Disenchanted was directed by Jez Luckins with choreography and supporting direction from Gaynor Whitehouse. The musical director was Chris Corcoran.

Second time for me experiencing Third From The Right Productions and the first for Disenchanted. I’d recommend both whenever you get the chance. Word of warning, though. Sit on the front row at your peril.

Disenchanted – The Blue Orange Theatre, Birmingham – 31 August 2018

Cheers.

Antony N Britt

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