Antony N Britt (calls himself Nick, to be awkward) is the author of horror novels: Finding Jessica and Dead Girl Stalking, plus, short story collection: Ghost Stories. All page-turning tale that slaps you in the face when you least expect it. He lives in Walsall in a house full of CDs, videos, books and many unread pieces of paper which may hold the secret to eternal life, but are most probably pizza menus.
Finding Jessica
Finding Jessica
Jessica, Jessica, who were you? And what brought you to that bar last night?
Rob Devlin. Former TV investigative reporter, former alcoholic, formerly alive. The experience in an afterlife of near-death ends when Rob’s soul returns to the body. The wrong body.
Jessica Davies was the stranger Rob died trying to save; the reward is to live her life. But was it more than chance they met? Rob needs answers and unable to resume his old life, one option remains. She must become Jessica. First, Rob needs to know who Jessica was and in order to put things right, Rob must set about finding Jessica.
From the author of Dead Girl Stalking and Ghost Stories: Tales From The Dead of Night.
I need to start by saying that 80-year-old war songs are not my thing. Heck, I even performed in a Wartime/VE Day celebratory showcase once and still, that genre wasn’t my thing. Even more; I loathe Christmas, so attending D-Day Darlings on December 23 did not bode well for me. But that doesn’t mean I can’t write objectively, and if anything, offer an honest appraisal with no personal bias.
A Google search tells you The D-Day Darlingsare a choir. A bit of a short sell, if I’m honest, because on the evidence I saw, they are so much more than that. Performers with song and dance, humour and audience interaction. Excellent voices with a professionalism delivering an amazing sound welcomed by all, including me, as it turned out.
Launching off the wartime tunes with The Dam Busters, many staple songs were there to follow: White Cliffs of Dover, Pack Up Your Troubles, It’s a Long Way to Tipperary, Keep the Home Fires Burning, I’ll be Seeing You, A Nightingale Sang in Berkley Square, Somewhere Over the Rainbow and the ultimate Vera Lynne tribute — We’ll Meet Again. There were original numbers as well, including a lovely number titled, Mary, which shows versatility in branching out from the traditional. And I do admit to liking a bit of GlenMiller, so Iespecially enjoyed In the Mood.
And Christmas was well and truly represented: Little Donkey, Chestnuts Roasting on the Open Fire and White Christmas were all performed with excellence and received with deserved applause. Best of all, though, of yuletide fun, was a version of Santa Baby with (ahem!) audience engagement which brought the house down.
The Darlings rose to fame as the UKs premier wartime act after reaching the finals of Britain’s Got Talent in 2018 and now boast over 28,000 Facebook followers. The show I attended was also near full consisting of all ages, bearing out that there is still a definite market for this product.
On the night, The D-Day Darlings were founder member, Katie Ashbey supported by Emily Jane Brooks, Nichola Roberts, Kylie Bates and Jessica Hudson. All were wonderful with both formal, colourful and Christmassy costumes. I was the designated driver for my partner on this evening and originally only attended on the promise of a Ghost Hunt of my choice. But don’t tell her — I still enjoyed myself. The outfit are touring again in 2023 and I highly recommend a trip to see them. You may find you like it.
Having been involved in several amateur pantomimes in recent years, it was a pleasant change to watch the professionals in action at one of the biggest venues in the country. So how do they fare against those smaller productions who must make every penny count? Okay, you cannot criticise for having money to burn in comparison, but the top pantos still need to deliver the goods and I’m happy to say this one did in every department.
Exceptional sound and lighting, impressive sets and costumes full of spectacular colour. However, there still is a major factor with these star-studded extravaganzas as they are also vehicles for those stars, and quite understandable, as many in the audience have come to see them. Therefore, plots are thin with a massive ratio of time spent on stand up and sketches, but that doesn’t make it less of a pantomime. You see, if it is well written (and Dick Whittington was, superbly by headliner, Matt Slack along with Alan Mc Hugh) the audience will go home happy. In fact, pantos are often kids’ first experience of theatre and even if parents aren’t fans to begin with, the whole family enjoy it so much as a unit they do return the following year. And that can lead to a wider love of theatre.
Finally, after many years of being the comic foil in Birmingham, Matt Slack was our Dick, the principal role. And he did not disappoint. Wave after wave of one liners and occasional impressions had me and the rest of the auditorium in stitches. I wish I had written some of them down.
But it wasn’t only Matt Slack delivering the laughs. Andrew Ryan was sublime as Felicity Fitzwarren. With glorious over-the-top costumes and double-entendres, Slack had great support. Now, pantomime dames are a touchy area for me as I loathe the outdated hairy chested, occasional gravelled voice efforts that are thankfully all but consigned to pantomime hell. What Ryan delivered was female impersonator/drag style that Ru Paul would be proud of. This is a transgender world now and subjects need respectful treatment, which was the result here. But it wasn’t just the nature of the character, the performance was also top-drawer.
Laughter with a local flavour also came from Doreen Tipton in the guise of Doreen the Cat. Now, I can’t honestly say I’ve ever been a fan but with the material given, Tipton was a wonderful addition. And she can hold a good tune as well. Supporting well was ex Hearsay singer, Suzanne Shaw and Dr Ranj from daytime TV. Both were excellent in song and stage, adding an extra celebrity feel to the show.
Topping the bill, though was former Wet Wet Wet lead, Marti Pellow who had the audience unable to decide whether to cheer or boo at times. Still popular, he proved that love really isall around.
What! Come on, it’s panto. You have to expect the odd bad pun.
Finally, with a cameo interlude by the amazing duo of Spark Fire Dance, this was a pantomime where everyone will have gone home in a happy, feelgood mood.
Dick Whittington was directed by Michael Harrison with choreography from Alan Harding and musical direction in the hands of Robert Willis and Gary Hind.
Matt Slack is already booked to return to Birmingham Hippodrome Christmas 2023 in Jack and the Beanstalk and on this showing, I’d recommend getting your tickets now.
I discovered Script Youth Musical Theatre Company earlier this year with their amazing production of Grease, so had no hesitation in booking tickets for their latest offerings. I say that in plural as the evening was split into two with the first half featuring a newly formed juniors’ section and Beauty and the Beast while the seniors treated the audience to a Musical Theatre Showcase in Unscripted.
It’s bold to separate the ages but the move should prove good as the younger members can now develop at their own pace and not fall behind in the shadows of their older counterparts. This showed with confidence at being to the forefront in Beauty and the Beast and it was noticeable how well they shined. The panto featured excellent performances, particularly from Gracie Reynolds (Beauty), Hannah Bennet (Beast), Alex Brown (Bruno), Edward Lawlor (Papa), Lexi Shaw (Teapot), Isla Thorpe (Cup), Darci Rice (Clock) and a lovely extrovert character from Lee Stubbington as Candlestick. Narrating and delivering a good offering of Beauty and the Beast (Tale as Old as Time) was Maddie Howard who repeated the song alongside Gracie Reynolds with full company at the end of the show. We also had company versions of Be Our Guest. There are a couple of supporting members I’d also like to mention (even though I’d love to name them all). The first is Poppy Kerr (An acrobatic Rose) and Zachary Duke as the mime who I could not take my eyes off due to some brilliant facial expressions. Yes, these kids are young, and have a long way to go, but here is a good start and who knows where they will be in a few years’ time.
After an interval the older members of Script took centre stage with songs from musical theatre and film opening with Finlay Laidlaw and Mya Cartwright leading a full ensemble with The Greatest Show. Following, Evie Rice and Harry Robbins delivered a lovely fun rendition of Love is an Open Door (Frozen).
Again, impossible to name every number but some of my other favourites included We Will Rock You, On My Own (Superbly sung by Sophia Powers) and Harriet. This latter number was an outing for a Script Society formed band, Fading Embers (Ollie Roberts, Finlay Laidlaw, Kadenna Glendon and Harry Robbins). It’s great to see initiative and another avenue for talent to progress and shine.
I also enjoyed numbers from my two most favourite musicals. Seventeen (Heathers) was executed well by Erin Mooney and Sam Williams and I was delighted and could not help joining in during Stick it to the Man (School of Rock). I don’t care how loud I sang, it’s a song I have performed myself and relish every chance to relive the moment. Top number of the night, though, was Ex Wives – The Queens (Six the Musical) featuring Erin Phillips, Erin Mooney, Mollie Fitzpatrick, Sophia Powers, Evie Rice and Ella Gibson-Brookes. Brilliant.
Yes, this was a youth production and there is always room for improvement, obviously. The only area I would say was the case, however, would be for more confidence and audience engagement, especially during rock numbers like Stick It and Rock You. Break that fourth wall and get in the audiences’ faces. Performers will engage them and gain so much that anything is possible in the future.
The shows were produced and choreographed brilliantly by Louise Salt, Tim Rice, Molly Chamberlain, Madeline Fleming and Ellie Quinn. Compering events was Rob Bissett who linked songs with sometimes awful, but still funny jokes. He did pick on me at one point in the front row but at least this was to highlight that I was the strongest in joining in an audience participation song. As a performer myself, I’ll take that.
Overall, a wonderful night, so well done to everyone involved. Script Youth Musical Theatre Company return to Highbury Theatre in Sutton Coldfield next July with School of Rock. Oh, how I’d love to be a teenager again and part of that experience as I know the show so well, but I’ll settle for watching these talented youngsters bring it to life instead.
It’s always a challenge to review a company one has had connections with, but a writer can only give a critical appraisal without showing favouritism as was the case when Aldridge Musical Comedy Society took the stage in their latest showcase.
I have spoken a lot recently in reviews about needing the right product to market in relation to shows. Therefore, it was a brave move to highlight one specific genre of musical theatre in this production. Fortunately, rock music is my speciality so I for one wasn’t complaining. However, I do have to question some of the song choices as I feel many shows in this category were absent from proceedings. And when over 50% of songs come from just four musicals, you wonder how well production knew their subject. Where were tunes from The Commitments, Shout, All Shook Up and most famous of all, The Rocky Horror Picture Show? And more blatantly, an absence of Hair, the original rock musical which started off the others. Despite this, there was plenty for an audience of family and friends to love, and with excellent costumes plus a simple but effective set which I approved of, we experienced Musicals That Rock.
Opening with Bat Out of Hell (Sung well by Ashley Brown and Emma Wallage and Company) followed by Rent and Radio Ga Ga, the pace picked up dramatically when Richard Beckett took centre stage for Step One (Kinky Boots). Then followed Evie Etheridge with an outstanding offering of Anywhere But Here from Pretty Woman which for me was the best performance of the night.
You can’t beat a bit of Joan Jett, someone I have seen several times, so I particularly enjoyed I Hate Myself For Loving You sung by Helen Jolly. Other stand out numbers included No One But You (Only the Good Die Young) and Defying Gravity, both delivered strongly by Chloe Robinson. Act One finished well with a full company medley from Come From Away, a show I know nowhere near enough about, but this gave me the incentive to do so.
One song which received huge applause was the excellent Revolting Children by the junior cast led well by Amelia Critchley with Grayson Brown, Holly Etheridge, Zach Jolly, Ella Thornley, Evie Westley, plus Rebecca Oatley and Evie Etheridge from the older children. These kids are the future and need nurturing after showing such promise.
Act Two began with a bang in We Will Rock You led by Matthew Britt before being joined by Lucy Pountain for A New Argentina with Full Company. I also enjoyed Give Up Your Dreams, ditched from School of Rock before that show ever reached Broadway and the West End (Always do your research and don’t simply draw up a list of songs based on CD soundtracks), but Nicola Critchley exploited the humour well with on-stage stooge, William Bosworth while engaging well with the audience. If I’m honest, that was an area I found lacking elsewhere. Nowhere near enough audience interaction. This is rock. Performers need to be in the audiences’ faces while many were at the back and some numbers too static.
My major niggle, however (and it is only a personal one), was the bastardisation of Green Day. I have followed the band for 30 years and know every track intimately, as I do the musical, AmericanIdiot. These numbers are meant be edgy, raw, but what we had were soft rock Glee-type arrangements. Again, know your subject. Some may disagree but as a die-hard fan, this was a heinous crime against the guys from Oakland.
Musicals That Rock was directed by Gaynor White and Ashley Brown with excellent choreography in some numbers from Sarah Beckett. And when you do rock, you need a band, and Musical Director, Mark Bayliss (also Keys) oversaw a fantastic one featuring Dan Stubbs (Keys 2), Nigel Beer (Guitar), Lauren May Ross (Bass) and Ben George (Drums).
It was unfortunate on this occasion the audience was smaller than most amateur company productions I have seen recently, and this could be due to Rock being a niche genre and not everybody’s cup of tea, even though it is mine. A lesson to learn.
An iconic line from an iconic film now transformed into a popular musical. But to make that musical a success you need an excellent company and fortunately, everything I have ever seen from Third From the Right Productions has been out of this world.
Calendar Girls is a 2015 musical based on the 2003 film of the same name. With music and lyrics by Gary Barlow and a book from Tim Firth, it tells the true story of a group of women who produce a nude calendar to raise funds for a local hospital when one of their husbands dies of cancer. This is an extremely emotional story which includes humour side by side with tragedy and eventually an ending of euphoria.
In the role of the feisty Chris was Natalie Baggot who as always portrayed a commanding figure on stage, excelling at the climax of Act One in Sunflower. As Annie, who loses husband, John (Jez Luckins) was Sarah Coussens who I saw earlier this year in Shrek. Again, it was a top notch performance and Coussens continues to be one of my favourite actors in local Musical Theatre. Kilimanjaro was sublime and Scarborough equally as poignant.
Gaynor Whitehouse returned to the stage as Coraafter being at the directing helm during TFTR’s pre-Covid show, Soho Cinders while Jo Tranter aged up to play pensioner, Jessie, giving a great showing during What Age Expects. Completing the Calendar Girls were Bekki Jackson as the brassy Celia and Gillian Homer playing low self-esteemed Ruth who struggles to break free from her deadbeat husband. Both were excellent in solos, So I’ve Had a Little Work Done and My Russian Friends and I, respectively.
Supporting tremendously, though were Kaz Luckins (Marie), Charlie Bullock (Danny) and Niamh Hadley who along with Natalie Baggott provided one of the numbers of the night in Protect Me Less. Then we had Jeni Hatton (Lady Cavendish/Brenda Hulse), Carl Cook (Rod), Sam Gordon (Lawrence), Ian Howarth (Colin), Adrian Raybould (Denis) and Joe Neale (Tommo). Finally, the two unmarried Miss Wilsons (Laura Wright and Shan Nolan Beach) who bared near all in a cheeky cameo.
Jez Luckins was Artistic Director with assistance and choreography fromGaynor Whitehouse in addition to both treading the boards on stage. And then there was Chris Corcoran who continued his wonderful association with TFTR as Musical Director while the Production Manager was Dave Gardner.
The climax of the show sees the girls discreetly hidden by various food produce and utensils in For One Night Only before an uplifting finale in Sunflower of Yorkshire. At the end, the entire audience were on their feet with an ovation richly deserved.
The fourth production by Third From The Right I have seen and each time the bar raises higher. November 2023 will see the company return with (the delayed by Covid) Tommy. By then I expect the bar to hit the roof.
Never land that’s the secret of flying. Never land, nothing equals the thrill.
I’m always harping on about the secret to success in amateur theatre. Well, Bilston Operatic Company certainly had that in Styles and Drewe’s Peter Pan. Three Ps: The right Product in the right Place with the right Publicity. Another couple of Ps with Peter Pan, there’s added family appeal. Parents bring their kids to shows like Peter Pan, enjoying the experience so much, they do return.
Peter Pan: A Musical Adventure is a 1996 reimagining of J.M Barrie’s original 1904 play. With music and lyrics from George Styles and Anthony Drewe plus a book by Willis Hall which is still faithful to the original, I need no explanation of plot. Really … who doesn’t know Peter Pan?
I really like this version and the main reason is the score. Styles and Drewe are epic, probably the best musical theatre song writing collaborations in recent times. Catchy tunes with emotion and depth. However, I do think Willis Hall’s book needs bringing up to date with 21st century attitudes. Make Peter Pan less egotistical and Wendy certainly more feminist as opposed to her lot in life being there to cook and clean for males.
Peter Pan, is of course, a magical story, whatever format it takes, and in this show you had the perfect opener with a full chorus and There’s Something in the Air Tonight. Talk about goosebumps, but nothing you would not expect from Styles and Drewe. Even so, this song needs to be done right and with swirling fog and ethereal mystery, Bilston’s voices were magnificent.
Leading the way as the boy who never grew up was Fergus Edwards, and no surprise to find he is a student at the prestigious Birmingham Ormiston Academy. The performance was out of this world; a fine singing voice up there with the professionals. The same for Maddy Evans who captured the character and innocence of Wendy Darling perfectly. The duets in The Cleverness of Me and One Big Adventure were wonderful, and Neverland is just a magical number. The latter also included 12-year-old Joseph Dowen as John and Jett Austin-Richards at an amazing 7 years old playing Michael. Such confidence and stage presence from ones so young. Amazing.
Narrating we had Amy Frost as the storyteller, eventually revealed to be grown-up Wendy who duetted lovely with Lydia Hackett as Mary Darling in Just Home. Hackett also set the scene early on with Just Beyond the Stars which was tremendous. Supporting also as George Darling was Jon Dempsey who portrayed well the consequences of his children’s disappearance, inducing what was basically a personal breakdown.
And then there be pirates … Ahhh! Captain Hook is such an iconic role; one I had fortune to play once upon a time, and Dan Smith had the voice, the presence, and overall charisma to make you believe he was Hook. When I Kill Peter Pan was especially good, mixing humour with menace at the end of Act One. But you can’t have Hook without Smee, and I have to say Zachary Hollinshead is up there with the best and made himself the audiences’ favourite. Yes, it’s in the character as written but you need talent to complete the task and Hollinshead had that in abundance. A Pirate with a Conscience with Hookand Rose-Tinted Eyepatch which included all the pirates were top-drawer on the night. The same could be said for Good Old Captain Hook – a rousing ensemble number which showed good characters and chemistry. We also had excellent dancers in the indigenous inhabitants of Neverland (Natives, Mermaids and Wolves) led wonderfully by Issy Checketts (Tiger Lily) during Crocodile and Tiger Lily/Siren Song.
Now, I’m a great advocate of kids in shows, for they are the future, and the audiences love them. Fortunately, in Peter Pan, there are so many opportunities for these to shine. The Lost Boys were magnificent and even included a couple of girls in their number. This is great for inclusivity as in the past I have despaired when shows like this and Oliver have restricted the junior numbers to male only, just because an original script says so.
Peter Pan was produced and choreographed by Laura Canadine with assistance from Amy Evans while an eight-piece orchestra delivered an auditorium of sound with musical direction in the hands of Gareth Howard.
Wow! I’ve gone way more than my usual 500-word reviews which reflects how much positivity I have to say about this production. It did look expensive with no cost spared and while the cynic may think the company have endless money thrown at them, I disagree. Although the programme had a page filled with patrons and financial support, this is simply good business for which Bilston Chair, Brenda Arnold can be proud.
So, an enormous success which looks to be repeated next year in Chitty Chitty Bang Bang. Family show, lots of kids, and well-known songs. Bilston surely have that succesful formula nailed and I for one can’t wait.
Cheers.
Antony N Britt
Some photos blatantly stolen from Bilston Operatic Society’s Instagram page.
Omigod! Omigod, you guys. Looks like Elle’s gonna win the prize.
Well, you need to have been at The Crescent Theatre, Birmingham watching The Arcadians Musical Theatre Company’s production of Legally Blonde to find out if Elle Woods really did win that prize.
Legally Blonde is a 2007 musical with score and lyrics by Laurence O’Keefe and Neil Benjamin and a book from Heather Hach. The musical itself is based on the 2001 film of the same name and follows sorority girl, Elle Woods as she enrols in Harvard Law School to win back ex-boyfriend, Warner.
This show is now officially the one I have seen the most over four different productions, both amateur and professional and the first thing I saw was an absence of the usual pink sorority backdrops and law school sets. This did not matter. I am quite a fan of the stripped-back approach. Let’s face it, as a director, I’d rather the audience be watching the cast than the scenery and when the cast are as good as The Arcadians were on view, who needs scenery? The other noticeable thing was the use of backing tracks instead of a live band. Yeah, I could tell the difference, but many wouldn’t and even I settled into it. But don’t be too hard on companies who choose this road as in times of financial hardship, an orchestra to do Legally Blonde justice would cost a minimum £3-4K; probably more.
In the role of Elle was Bethany Neame and as well as great vocals, I was impressed with the overall acting, especially facial expressions and reactions. Bethany shone, particularly in solo numbers So Much Better and Legally Blonde (Slow Version). Playing opposite as Emmett Forrest was Jacob Standbridge and again, a superb performance, including the humour for Chip on Your Shoulder.
Now, I always have a fondness for the character of ditzy Paulette. It has so much scope for the actor and I’m happy to say Rebecca Eastwood was the best out of four Paulette’s I have seen to date, and that includes Rita Simons. I just love Ireland as a musical number and Eastwood nailed it in great style.
But Legally Blonde has baddies too where Cieran Nixon (Warner) and Rob Pushkin (Callaghan) excelled in that department during Serious and Blood in the Water, respectively. Supporting well in the principal line-up were Eleanor Hewer (Vivian), Adaze Crawford (Brooke Wyndham), Tom Cullen (Kyle) and Helen Rourke (Enid Hoops). Then, leading the Greek Chorus of Delta-Nu, we had Robyn MacPherson (Margot), Laura Peters (Pilar) and Ella Saunders (Serena) who due to an injury, was understudied in some scenes by Becky Murray.
This is such a feelgood show with a great script and so many memorable tunes. There! Right There! is always going to top my list due to its hilarity but What You Want, Positive, Whipped Into Shape and Legally Blonde (Full Chorus Version) come close. And not forgetting Bend and Snap. The auditorium of this marvellous theatre was full which is no surprise due to the popularity of the show. It just goes to prove having the right product in the right place with a great company is the secret to success.
In an earlier review for this show I was pulled up for not recognising the canine performers, so I make sure now not to repeat that mistake. On stage we had Willow (Bruiser), Archie (Rufus) and Mindy who is guide dog to Helen Rourke.
Legally Blonde was produced and directed by Nikki Genner with choreography from Adele David and vocal coaching courtesy of Jodi Matthews.
Arcadians appear an inclusive company, enjoying what they do. Congratulations are in order, and they fully deserved the standing ovation on the night of this performance.
Look out, here comes Audrey Two. Look out, here I come for you.
Ominous words, summing up events witnessed in Brownhills Musical Theatre Company’s offering of Little Shop of Horrors. With music from Alan Menken and book and lyrics by Howard Ashman, this 1982 musical is loosely based on the 1962 film of the same name.
Seymour Krelborn works in a failing flower shop for the cranky Mushnik while harbouring feelings for fellow assistant, Audrey. When Seymour discovers a strange and interesting plant, he puts it in the shop window which attracts customers, boosting sales in the shop. However, this alien plant feeds on blood, leading to Seymour supplying it with humans to protect his secret. Having only ever seen the 1986 musical film adaption, I was surprised about the different conclusion which I won’t spoil here but let’s say with the scenario just described, it’s never going to end well.
Little Shop caters for a smaller cast than most shows with less opportunity for chorus, but Brownhills used these well when used. The set was impressive, giving the feel of the shop but the most spectacular was the Audrey Two models themselves with several to show the progression of growth.
Present throughout are the street urchins: Hattie Parry (Crystal), Sarah Taylor (Chiffon) and Charlottle Trigg (Ronnette) who were amazing. They supplied a running soundtrack which allowed scenes to flow. Also on stage for the duration was a wino (Brian Washington) who spent much of the time slumped in the rubbish but then used for good comic foil.
In the role of Seymour, we had Brett Dewsbury who showed a fine voice and good characterisation during Grow for Me before teaming superbly with Charlotte Foulkes (Audrey) in Suddenly Seymour. Foulkes was also excellent in Somewhere That’s Green, a lovely number and my favourite of the night.
Another brilliant song was the team-up of Dewsbury’s Seymour with Peter Brown (Mushnik) for Mushnik and Son. Brown captured the florist’s character perfectly as did Chris Parry with Orin Scrivello, particularly during Be a Dentist. Orin’s death scene was hysterical, inducing infectious laughing from the audience while the ill-fated dentist dies from inhaling nitrous oxide. But I can’t heap praise without Audrey Two itself. It must be surreal to be in a production as vocals only, but Katie Gibson gave stunning deliveries as the monster plant’s voice. But if I’m mentioning the audibles of Audrey Two, I can’t leave out Lauren Knowles’ skills as its puppeteer. This was a sharp professional production directed by Kelly Tye and Richard Tye with Alex Priestley overseeing a sympathetic orchestra as Musical Director.
In a time of recession and financial hardship, it was still nice to see a near full auditorium which gave their appreciation with a standing ovation at the end of the show. Brownhills’ next offering is A Chorus Line, February 17 & 18 next year at the same venue. If it’s as good as Little Shop of Horrors, it will be well worth seeing.
Cheers.
Antony N Britt
Some photos blatantly stolen from BMTC’s Facebook Page.
That may be so, but wonderful dance is also on the stage in this musical version of Baz Luhrmann’s Strictly Ballroom. Based on the 1992 film of the same name, itself adapted from Luhrmann’s original play, Strictly Ballroom tells of the love affair both on and off the dancefloor between talented amateur, Scott Hastings and beginner, Fran. When Scott loses his dance partner due to him wanting to pursue his own style, Fran persuades him to take her on and compete in the Pan-Atlantic Grand Prix Dancing Championships.
With the popularity of the another Strictly (Strictly Come Dancing), this musical can be equally well-received. But for that you need a strong script, good music, and most important in a dance themed show, brilliance on the dancefloor. Thankfully, we had all of that. The book by Luhrmann himself and Craig Pearce is sound in character development and funny. But it was dance along with excellent vocals which had the audience wowed right until the end. Choreographed and directed by Strictly Come Dancing’s Craig Revel-Horwood with co-choreography from Jason Gilkinson, even dancing ignoramuses like me were impressed. Then, under the musical supervision of Stuart Morley, we had excellent vocals from all involved.
In the lead roles of Scott and Fran we had Kevin Clifton and Maisie Smith respectively. Both excelled in song and dance, as you would expect and were equally supported by Nikki Belsher (Shirley Hastings), Mark Sangster (Doug Hastings), Gary Davis (Barry Fife), Quinn Patrick (Les Kendall), Oliver Brookes (JJ Silvers), Jose Agudo (Rico) and Karen Mann (Abuela) among over 20 cast members.
Best number of the night for me was the Paso Doble at the end of Act One, full of energy and breath-taking excellence, however, Beautiful Surprise ran a close second with amazing vocals from Clifton and Smith. I also had fondness for the Barry Fife comic number, Dance to Win, performed by Davis. In among the original score with offerings from Sia and Eddie Perfect, were retro classics in the form of Tequila, Time After Time and during the finale, a rousing and feelgood, Love is in the Air.
The whole show was not only a spectacle of dance though. Mark Walters colourful costumes were equally sparkling as was the impressive (and rather surreal) wooden curved panelled set. Add some great lighting from Richard G. Jones and you had the icing on the cake. At the end, most in the auditorium were on their feet and it was great to see the band on stage too for a bow.
This production; I loved it. The only criticism is a minor plot device with the cliché of Fran only considered attractive once she’d changed from unfashionable clothes and removed her glasses.
Strictly Ballroom is touring the UK the rest of the year and into next summer. Even if you are not a fan of dance, do not let this put you off. This is a fabulous show, darling.
But on my tombstone when I go, just put “Death by Rock and Roll.”
I have followed this band since the start over a decade ago but until now had never seen The Pretty Reckless live. Thankfully rectified at the O2 Academy, Birmingham.
The Pretty Reckless perform Hard Rock/Post Grunge with a decent amount of Country thrown into some numbers for good measure. Fronted by the powerful vocals of Gossip Girl actor, Taylor Momsen, The Pretty Reckless also feature Ben Phillips (Lead Guitar), Mark Damon (Bass) and Jamie Perkins (Drums). And boy, do they rock.
Death by Rock and Roll
Launching straight into the title track of the most recent album, Death by Rock and Roll, The Pretty Reckless had the audience in their hands from the go. Since You’re Gone came next followed by Only Love Can Save Me Now,then, And So it Went. If it wasn’t already, the Academy erupted even further with the arrival of the band’s debut hit, Make Me Wanna Die with everyone joining in the chorus. The energetic Miss Nothing followed before Halloween had its celebration with my personal favourite, Sweet Things and Witches Burn with Broomsticks outro. The awesomeness continued with My Medicine, My Bones, Going to Hell and Heaven Knows. The latter featured a guitar solo, something I am never keen on, but I admit, Phillips was amazing. The main set ended with the sole offering from 2016’s Who You Selling For in Take Me Out. It could be that this album has a softer, country mood, and the show I experienced was, rock, rock, rock. Momsen herself interacted well with the audience showing a genuine pleasure at playing in Birmingham.
The band returned for one more number — Fucked Up World ata massive nine minutes long with another solo, this time drums from Perkins. I don’t like drum solos either, but I’ll excuse it. I would have loved a couple of more songs instead but seeing as the evening was so awesome, I certainly had value for money. At just over £30 a ticket, it was a bargain considering The Damned are charging double that a week later.
The Pretty Reckless get nowhere near the recognition they deserve and are outstanding, owning every hall played. Perhaps Momsen’s Gossip Girl past puts some people off and the fact that aged-7, she was Cindy Lou Who in How the Grinch Stole Christmas. People … Momsen is not Miley Cyrus or Zac Efron, playing to Disney fans. Here we have a rock goddess. Treat her like one. If you follow the band, I need say no more. If you don’t know much about them, check out the albums and go see them live. You will not be disappointed.
Antony N Britt - Author 