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The road is long. 
There are mountains in our way. 
But we climb a step every day.

An Officer and a Gentleman — New Alexandra Theatre, Birmingham — 1 March 2024

I went into An Officer and a Gentleman totally blind. I have never seen it and despite the film on which the musical is based being over 40 years old, I’ve not watched that either. All I know is that according to Joe Cocker, “Love Lifts Us Up Where We Belong.” Still, I arrived with an open mind, not even having heard a cast soundtrack. What I found, though, was an enjoyable Jukebox Musical full of songs, mostly from the 1980’s. Okay, maybe not songs I would have on my default rock playlists, but familiar enough that I have become accustomed to them over the years to the point of enjoyment.

An Officer and a Gentleman — New Alexandra Theatre, Birmingham — 1 March 2024

An Officer and a Gentleman was written by Douglas Day Stewart and Sharlene Cooper Cohen and tells the story of Zack Mayo during his training as an aviation officer, his developing love for local girl, Paula, and the conflicts with hard-driving Gunnery Sergeant, Emil Foley. As mentioned, this version takes its music from hits of the 80s in such giants as Girls Just Wanna Have Fun, St Elmo’s Fire, Livin’ on a Prayer, and The Final Countdown. And the show ended with the song most famous from the film, Up Where We Belong.

An Officer and a Gentleman — New Alexandra Theatre, Birmingham — 1 March 2024

Playing Zack was Luke Baker who I last saw in Footloose a few years ago. An excellent, impressive performance all round, especially during Blaze of Glory with the equally good Tim Rodgers as Byron. As Paula on the night, we had Julia Jones who was top drawer, and I really enjoyed the duet with Baker in I Want to Know What Love Is. Jamal Crawford portrayed a memorable Sergeant Foley and led the recruits well in song too during Hearts on Fire. Then, supporting in great fashion were Paul French (Sid), Sinead Long (Lynette), Melanie Masson (Esther) and Etisyai Phillip (Casey Seegar),

An Officer and a Gentleman — New Alexandra Theatre, Birmingham — 1 March 2024

The one criticism I did have was that the basic plot was a little thin but when you have 22 Jukebox hits, the plot became secondary. I also wasn’t impressed with the softer version of Kids in America, but that was probably just me. Apart from that, it was an energy packed performance that left the audience buzzing.

An Officer and a Gentleman — New Alexandra Theatre, Birmingham — 1 March 2024

The Director for An Officer and a Gentleman was Nilolai Foster, Choreographer, Joanna Goodwin and Musical Supervision/Orchestra, George Dyer with Musical Direction of the band from Christopher Duffy.

An Officer and a Gentleman — New Alexandra Theatre, Birmingham — 1 March 2024

A great evening out, with spirits and feelgood factor up where they belong. 

Where the eagles cry. 
On a mountain high.

An Officer and a Gentleman — New Alexandra Theatre, Birmingham — 1 March 2024

Cheers.

Antony N Britt

There’s a place for us. 
Somewhere, a place for us. 
Peace and quiet and open air. 
Wait for us. 
Somewhere.

West Side Story — Arena Theatre, Wolverhampton — 17 February 2024

I have never been a fan of Bernstein, Sondheim and Laurents’ West Side Story. Hated the 1961 film (although enjoyed the 2021 remake) and have always found the characters unlikable. I have even performed the show on stage, and still did not enjoy it. However, I loved this version from the wonderful Starcross Youth Theatre.

West Side Story — Arena Theatre, Wolverhampton — 17 February 2024

What can I say? I see many amateur and youth companies and in Starcross, an exceptional quality of talent runs throughout. There were no weak areas in this production, time flying fast due to being captivated by what was on view. Of course, West Side Story is one of the best-known musicals going. A re-imaging of Romeo and Juliet set to gang warfare in 1950s New York. And as I have said, few characters in the show are likable, but still engaging all the same.

West Side Story — Arena Theatre, Wolverhampton — 17 February 2024

Playing Tony was Brandon Harrison who once more shone in a lead role, excelling during Something Coming and Maria. Then, complimenting him as Maria herself in this performance was Christine Cross. A believable portrayal with added petulance and fight which brought more to Maria than just being perfect, which has often been the case in the role. Great control in voice, hitting the top notes during Tonight and One Hand, One Heart, in particular. Plus, excellent acting and dance.

West Side Story — Arena Theatre, Wolverhampton — 17 February 2024

As Anita, we had the outstanding Kelsey Taylor. This is such a good role and Taylor totally gave it justice with A Boy Like That. Superb. In the part of Riff, Alex Hill was on form as the hot-headed leader of the Jets, as was his Shark counterpart, Bernardo (Dimitri McDonald). One other performance also standing out in the principals was Lily Cross as Action where I totally believed the anger issues shown in the characterisation. That moment where one person constantly grabs your attention each time they are on stage.

West Side Story — Arena Theatre, Wolverhampton — 17 February 2024

The rest of the cast was made up by Noel Jeavons (Diesel), Tia Rafferty (A-Rab), Daisy Lunt (Baby John), Emmie Adcock (Snowboy), Callum Brothwood (Gee-tar), Sophie Spruce (Mouthpiece), Lucy Keates (Spiff), Lauren Downes (Anybody’s), Jack Harley (Chino), Jay McDonald (Pepe), Requane Wade (Luis), Mia Lombard (Anxious), Elle Fletcher-Brown (Nibbles), Grace Froggatt (Juano), Zadie Wilson-Smith (Toro), River Onions (Rosalia), Lexie Jennings (Consuella), Shayera McDonald (Francisca), Lottie Wilkes (Margarita), Lily-Grace Palmer (Estella), Scarlet Bennett (Graziella), Alexa Nutting (Velma), Darcy Harman (Minnie), Holly Hunter (Clarice), Harry Webb (Doc) and Jaime Nutting (Krupke).

West Side Story — Arena Theatre, Wolverhampton — 17 February 2024

The final cast member to be mentioned gets a special one as six years ago I played Shrank, so I took note and not only was Mitchell Griffiths strong and commanding as the Police Lieutenant, but I was also genuinely scared at times.

West Side Story — Arena Theatre, Wolverhampton — 17 February 2024

On alternate performances some roles were changed, including Maria/Darcy Harman, Riff/Lucy Keates, Anita/Holly Hunter, A-Rab/Jack Harley, Pepe/Ellie Fletcher-Brown and Lily-Grace Palmer/Consuela, all swapping the roles with those I saw.

West Side Story — Arena Theatre, Wolverhampton — 17 February 2024

This production pulled no punches, particularly staying faithful during that scene towards the end in Doc’s Drug Store. Shocking, yet not glorified. I must also credit some wonderful choreography, especially during the dream sequence, plus America and Dance at the Gym. There was so much to enjoy about this offering, and I do think Starcross has won me over into liking West Side Story now. And how can I finish without mentioning the epic Tonight Quintet? Heck, the whole show was amazing.

West Side Story — Arena Theatre, Wolverhampton — 17 February 2024

At the helm in terms of production, direction and choreography were husband and wife team and Starcross founders, Belinda and Phil Cross MBE. The vocals were also on top form throughout, and this is a testament to the direction of Ben Batt in terms of music, with support from Ashleigh Foster. Especially so as due to West Side being ridiculously OTT and expensive to do with a live orchestra, backing tracks were used by Starcross. Most in the audience would not have been able to tell, and how brilliant it was that the timings were all spot on. Such a feat. As well as playing Maria on the night, Christine Cross also aided in production as well as choreography where the latter area was then supported by April Kruszynski, Emma Babiy and Brandon Harrison.

West Side Story — Arena Theatre, Wolverhampton — 17 February 2024

A thoroughly enjoyable night.

West Side Story — Arena Theatre, Wolverhampton — 17 February 2024

Cheers.

Antony N Britt

*Photos taken from Social Media.

I Have a Dream, a song to sing.
To help me cope, with anything.
If you see the wonder, of a fairy tale.
You can take the future, even if you fail.

Mamma Mia — Novello Theatre, London — 2 February 2024

Mamma Mia featuring the music of ABBA is undoubtedly one of the best feelgood musicals going, and I never pass an opportunity to see it. Now, I have also, in the past, never watched any of the TV reality talent shows where the object is to find the next West End star. However, when Mamma Mia – I Have a Dream aired towards the end of last year, I took an interest this time, considering the show. Then, when Stevie Doc and Tobias Turley (the two I had rooted for since Week One) won the final, I said to my then partner, “Let’s go and see them in their first week.”

Little background information. I have said “then partner” for a reason because an hour before curtain, sitting in Trafalgar Square, the lovely Michelle Orton said, “I do. I do, I do, I do, I do, I do,” in answer to my proposal for her to become Mrs Antony N Britt. So, engaged, front frow seats, Mamma Mia and two actors we had voted for on a TV show. What could spoil it?

Absolutely nothing.

Mamma Mia — Novello Theatre, London — 2 February 2024

This trip to Mamma Mia had the same energy as always; the same entertainment with excellent, well-known songs, plus the highs of what had happened to us immediately before.

Mamma Mia — Novello Theatre, London — 2 February 2024

Mamma Mia — Young girl getting married wants to know the identity of her father and according to her mothers’ diary, there are three potential suspects. Mamma Mia, I Have a Dream, Super Trouper, Take a Chance on Me, Lay All Your Love on Me, Does Your Mother Know … the list goes on. All instantly recognisable songs. Then there are the lesser so. Slipping Through My Fingers is beautiful and Under Attack is far better in this show than it ever was as an ABBA single.

Our two reality winners played Sophie and Sky and looked totally at home in the West End. Stevie Doc owned the stage from start to finish with excellent vocals and wonderful characterisation. She was the perfect Sophie and although not in the forefront of the show as much, Tobias Turley also grabbed his role and, in my opinion, made a better Sky than Dominic Cooper did in the 2008 film.

Mamma Mia — Novello Theatre, London — 2 February 2024

But it wasn’t just about Stevie and Tobias. Mazz Murray has played Donna Sheriden for a while now and you can see why. A commanding performance, especially during The Winner Takes it All. Supporting well, though, were Kate Graham (Tanya), Samantha Ivy (Rosie), Haydn Oakley (Sam), Stephen Beckett (Bill), Christopher Dickins (Harry), Jessie Odeleye (Ali), Izzy Cross (Lisa), Bradley Perret (Pepper), Chay Wills (Eddie) and John-Paul Birss (Father Alexander).

An excellent band was conducted by Mark Smith, and they really brought that live magic of ABBA to the stage. Forget avatars singing to pre-recorded tracks, go and see Mamma Mia instead. I must also mention the wonderful choreography of Anthony Van-Laast as (and I am sure I have said this before in earlier Mamma Mia reviews) Voulez-Vous is the most energetic and amazing dance sequence going in musical theatre.

Mamma Mia — Novello Theatre, London — 2 February 2024

This show always leaves you buzzing, and a magical end to a magical day. Plus, the icing on the cake was meeting our two Mamma Mia – I Have a Dream winners, Stevie and Tobias at the stage door. Brilliant.

Mamma Mia — Novello Theatre, London — 2 February 2024

Cheers.

Antony N Britt

* All Photos taken from Social Media and may not be exact representations of the cast from the performance reviewed.

Never again will she get the best of me. 
Never again will she take away my freedom. 
And we won’t forget the day we fought 
for the right to be a little bit naughty!

Matilda — The Cambridge Theatre, London — 1 February 2024 

Bit of an away trip for me (and my other half) in a London Theatre Weekend and although I love the local touring productions, there is something magical about being in the West End. The first of our two shows on the trip was Matilda, based on the 1988 Roald Dahl novel of the same name. With music and lyrics by Tim Minchin and a book from Dennis Kelly, I was eager for this, having enjoyed the film adaptation of the musical a year or so ago.

Matilda — The Cambridge Theatre, London — 1 February 2024 

The story is about a little girl whose parents don’t want her, has magical powers, and then gets sent to school where she faces horrors even worse than home. Many of Dahl’s works have dark themes and Matilda is no exception, with fear, bullying, tyrannical rule and abuse both in the home and from places of authority. But the result is a good one and a message to stand up against these issues and if a person can’t, then always be on hand to help those who are not able to do so themselves.

In the role of Matilda during our visit was Arabella Stanton, outstanding in every department, excelling with Naughty and especially during Quiet. Also starring was Kieran Hill as the terrifying Trunchbull while Lydia White gave a lovely performance in Miss Honey. Deborah Tracey complimented the library scenes with Matilda, adding offhand humour which worked well.

Matilda — The Cambridge Theatre, London — 1 February 2024 

As the terrible Wormwoods we had Ruairidh McDonald as Michael (Telly!) and Amy Ellen Richardson (Mrs Wormwood) who was superb with Nolan Edwards (Rudolpho) during Loud. Then, I must give an extra special mention to Rakesh Boury who was my favourite of the adults on view as Mr Wormwood. Totally commanded the stage and worked the audience well.

Matilda — The Cambridge Theatre, London — 1 February 2024 

Supporting well in the ensemble were Lauren Varnham (The Acrobat) and Sean Lopeman (The Escapologist) with Kane Oliver Parry, Gabrielle Davina Smith, Ronan Burns, Stan Doughty, Karina Hind and Roan Pronk. Ensemble also took on roles of the older children, which is something I hate, adults playing kids (ugh!), but I can understand the use of it. Sometimes.

Matilda — The Cambridge Theatre, London — 1 February 2024 

The rest of the kids, well, they were amazing, as I knew they would be. Sidhant Anand (Bruce), Coco-Lili Hodder (Lavender), Jake Durrant (Nigel), Lilian Guinoubi (Amanda), Elliott Marsden (Eric), Gina Harris-Sullivan (Alice), Kanon Narumi (Hortensia) and Joshua Wahab (Tommy) can all be proud of their performances.

Matilda — The Cambridge Theatre, London — 1 February 2024 

There are some brilliant songs in Matilda that will have you singing long after you have left the theatre: Miracle, School Song and This Little Girl are all superb, and that’s before you get to the amazing When I Grow Up and Revolting Children.

Matilda — The Cambridge Theatre, London — 1 February 2024 

Matilda was directed by Lewis Barnshaw with choreography from Tom Muggeridge. Musical supervision came from Laurie Perkins and Jodie Oliver-Howar (Children). An enjoyable musical, highly recommended and one that afterwards will have you feeling that little bit naughty.

Matilda — The Cambridge Theatre, London — 1 February 2024 

Cheers.

Antony N Britt 

*All photos taken from social media and are not necessarily representative of those performing 1 Feb 2024.

First show of 2024 and it’s the wonderful Birmingham Youth Theatre offering the classic tale of Sleeping Beauty. Written by Stephen Duckham, the show was an overwhelming success with cast and crew deserving everything given in appreciation by sell-out audiences.

Sleeping Beauty — The Crescent Theatre, Birmingham — 12 January 2024

Yes, Sleeping Beauty, and I’m not going to dwell on the plot because if you don’t know the traditional story, you should. The main thing, though, which was obvious on watching, was the continuing emergence and development of newer members as many of those we have become accustomed to have now passed the upper age limit. Sad in a way, but great for the future as the newer generations move up a notch with more experience. It is a pleasure to see the progress when you follow over the years.

Sleeping Beauty — The Crescent Theatre, Birmingham — 12 January 2024

With the cast at 40 plus in numbers, there was much to love and admire from the production team of Vivienne Morrison (Director), Kennedy Glews (Choreography), Chris Corcoran (Musical Direction) and Maddison Clarke (Production Assistant). Such large numbers to work with and do so successfully. And a special shout out to the latter mentioned, Maddison, who has made the jump from performing member to production.

Sleeping Beauty — The Crescent Theatre, Birmingham — 12 January 2024

Playing Sleeping Beauty (Aurora) was Livy Owen who excelled during Gift from a Friend and Another Love. However, Sleeping Beauty needs her charming prince and Luke Griffiths was equally strong as Prince Michael, teaming up with Owen for A Thousand Years as well as solo outings with Don’t Wanna Miss a Thing and Unstoppable. Also standing out was Harrison Doherty who as Nanny Nora gave one of the best Pantomime Dame characterisations that I have seen in a long while, teaming well with David Morrison who continued wonderfully where he left off last year as the comic foil, this time Barney. Great interaction and audience involvement from both.

Sleeping Beauty — The Crescent Theatre, Birmingham — 12 January 2024

Villain of the piece, Eva Phelan was outstanding in the role of Carabosse, aided well by Megan Allsop who worked the Raven puppet. I Put a Spell on You ranked as one of the best numbers of the night. But there were so many others who shone. As Lord Chamberlain we had Saran Sambhi with Daisy Wright (Fairy Queen) leading a trio of magic in the Fairies; Moonbeam (Bea Roberts), Sunlight (Sophie Terry) and Stardust (Lucy Holcroft). And I particularly enjoyed the comic chemistry between Kitty Smart (Queen Sybil) and Gethin Randerson (King Septimus).

Sleeping Beauty — The Crescent Theatre, Birmingham — 12 January 2024

Other named characters were Hans (Andrew Morrison), Bruce (Luke Holcroft), Lance (Edgar Shirley), Chardonnay (Emily Green), Merlot (Shire Clarke), Shiraz (Marni Carroll), Grigio (George Beckett), Zinfinndel (Finn Hill) and Beast of the Forest (Lucy Jones). All were magnificent, as were the dancers made up by Ava Jones, Bella Hoppner, Chyna Smith, Ella Pierce, Masie Cotterill, Shorouq Al Saffar, Sophie Swann and Tabitha Vlok. It was also pleasing for me to see the dancers give a little cameo in the forest with the moving trees used so well last year (Yes, we love the trees). Completing the ensemble was Anna O’Hara-Green, Breah Grimley, Edina Bilham-Moore, Ena Moreton, Freya Baylis, Georgie Dunn, Hannah Ashford, Niamh McKeon, Oonagh Williamson, Sophia Chilton and Talia Ellahawi.

Sleeping Beauty — The Crescent Theatre, Birmingham — 12 January 2024

The night ended in marvellous style with the full company giving it all during Walking on Sunshine. In 2018, I produced and directed my own version of this tale, and guess what song I also ended with? Great Minds.

Sleeping Beauty — The Crescent Theatre, Birmingham — 12 January 2024

Sleeping Beauty had it all: Professionalism, energy, and lots of talent. The main thing, though, was that it looked like everyone had fun. And that’s half the job. BYT is a fantastic company, well led and with a bright future. They return to The Crescent Theatre in July for Menken’s, The Little Mermaid. I have no doubt it will be amazing and highly recommend you join us, Under the Sea.

Sleeping Beauty — The Crescent Theatre, Birmingham — 12 January 2024

Cheers.

Antony N Britt

Everybody wants a piece of the action. 
Everybody needs a main attraction. 
I’ve done what everybody needs. 
Satisfaction guarantees.

From an early age, I was always into rock and one of the first bands to register as I began to take music seriously was The Sweet. Now, 50 years later, and with only one member remaining from the classic lineup, I tasted something Sweet for the second time.

Sweet — Wulfrun Hall, Wolverhampton — 2 December 2023 © Antony N Britt 2023

It’s a credit to Andy Scott that he doesn’t just roll out the old favourites. Sure, a lot were on view but also more recent and even new tracks from their forthcoming album. Yes, we all remember the Glam Rock images but there was always much more to Sweet than the commercial image promoted in the 70s with the (still marvellous) tunes from Nicky Chinn and Mike Chapman. Having moved away from their writers in the mid 70s, a bold direction after so much success, we saw the harder rock which is still being produced today.

Sweet — Wulfrun Hall, Wolverhampton — 2 December 2023 © Antony N Britt 2023

Although Scott is the only remaining (and living) member of the most commercially successful lineup, this is still Sweet. The spirit is the same, the energy is the same, and the sound is the same. On vocals and guitar was Paul Manzi who after standing in for Tony O’Hora on tour in 2014, became a full-time member four years ago and boy can this guy front a band. Then, on bass, and outed by Scott as a West Bromwich Albion fan to the enemy in Wolverhampton, we had the excellent Lee Small. Completing the five-piece is Tom Cory (Keys and Guitar) and Adam Booth (Drums). Phenomenal.

The Action began with that very same-named banging tune and that action did not stop all night. New York Groove (from the acclaimed 2020 album, Isolation Boulevard) followed this before Hell Raiser, Burn on the Flame and The Six Teens. The latter two from the 1974 outing, Desolation Boulevard.

Sweet — Wulfrun Hall, Wolverhampton — 2 December 2023 © Antony N Britt 2023

Mid set, Scott took a break, leaving the rest of the band to a trio of early hits in Co-Co, Funny Funny and Poppa Joe. After saying to the audience that when he heard them in rehearsals, they sounded so good he didn’t want to interfere, I did question the explanation as the last time I saw Sweet in 2005, I am sure these tunes were treated with derision. However, they went down a storm with the crowd, as did the run in to the end with Teenage Rampage, Wig Wam Bam, Little Willy, Love is Like Oxygen and Fox on the Run. Rounding off, Sweet gave the crowd what they were waiting for with a Blockbuster finale then a Ballroom Blitz of explosive proportions.

A new album is promised for 2024 with hopefully more shows on the road. Catch them while you can, Sweet still deliver.

Sweet — Wulfrun Hall, Wolverhampton — 2 December 2023

Cheers.

Antony N Britt

I have become a great fan of Script Youth Musical Theatre Company in recent times; therefore, I had no hesitation going to see this short junior version of the West End hit, Frozen. We were in the smaller, Ron Barber Studio at The Crescent and with a company of 50, it was inevitable the four performances would be split into two casts. On my visit I saw Cast Anna with Cast Elsa being the ones I unfortunately missed. However, having been to a few shows by Script now, I am certain the Elsas would have been as equally amazing.

Frozen Jr — The Crescent Theatre, Birmingham — 2 December 2023

I am not going to dwell too much on the story. Princess with magical freezing powers flees her land to safeguard her people and is followed by her sister and friends who want to save her, plus enemies who are out to destroy her.

In the role of Elsa was the wonderful Evie Rice who never disappoints and excelled in Let it Go. As Anna, we had the equally amazing Aimee Whillis who duetted well with Evie during For the First Time in Forever. Aimie also shared the excellent Love is an Open Door alongside the marvellous Sam McCormack who played Hans. Elsewhere, we had a great rendition of Reindeers are Better than People from Finlay Laidlaw (Kristoff) and Lewis Ward-Bygrave (Sven) who also successfully undertook the task of working the reindeer puppet. Similarly, Ruby Edmonds did a fantastic job at the helm of everybody’s favourite snowman, Olaf and performed In Summer well. I also want to mention the younger Elsa’s (Poppy Kerr and Lilah Edmonds) and Anna’s (Matilda Cartwright and Maddie Howard).

Frozen Jr — The Crescent Theatre, Birmingham — 2 December 2023

With such a large amount of people involved, it’s impossible to give everybody the credit they deserve, so I shall simply scan the cast list of both groups. Producing Frozen Jr on my visit was Louise Farmer while choreography was shared between Molly Chamberlain and Maddie Fleming. The dancing had an especially high standard and in particular, Francesca Roberts stood out in flair and skill. Production for Team Anna, on other performances, was Louise Sall and Tim Rice (Producers) and Erin Mooney (Choreography).

Frozen Jr — The Crescent Theatre, Birmingham — 2 December 2023

The show was a short one at an hour, but that did not lessen the experience as you were taken to a magical land in such an intimate venue. It was also interesting to note that many on production and backstage were pupils past and present, and that some of the senior members attend the prestigious BOA Academy in Birmingham. A sign of this youth company having a high standard indeed. Script are back next summer with We Will Rock You at the Highbury Theatre in Sutton Coldfield. I recommend you check them out.

Frozen Jr — The Crescent Theatre, Birmingham — 2 December 2023

Cheers.

Antony N Britt 

*All photos taken from social media. 

So, the 2023 challenge to the one who hates Christmas. Twelve months ago, it was the D-Day Darlings’ Christmas offering; this time around, Bournville Musical Theatre Company (BMTC) gave me A Very Musical Christmas. And I must say, I still think I was conned into going as I was under the impression that it would not be all Christmas songs. “No,” my partner told me, “I said it wasn’t all Christmas Carols.” Wow, Antony, please enter Room 101. With that said, you know you’re going to get honest feedback, even if I’m not keen on the subject matter.

A Very Musical Christmas — Routh Concert Hall, Bromsgrove —25 November 2023

The show consisted of 30+ in the cast, supported well by a 4-piece band led by Chris Corcoran with production in the hands of Lily Moore and Stuart McDiarmid. As for the test, would it make the biggest Bah Humbug feel remotely Christmassy? It did, if only for one moment during Have Yourself a Merry Little Christmas, sung in lovely fashion by Randy Johnson. There I found myself transported back to childhood, reminiscing about being curled up with Bing Crosby on the television and a nice warm fire. So, if that could be done to me, then 99% of those who were into the Christmas spirit would have gone home happy.

A Very Musical Christmas — Routh Concert Hall, Bromsgrove —25 November 2023

Top number of the night for me was Into the Unknown (Frozen 2) performed excellently by Sophie Wood and Joanne Kandola, with Kandola also singing my second favourite in Do You Want to Build a Snowman (The first Frozen). And no, it was not because they were the only non-Christmas tunes of the night, I just enjoyed them most, and I’m not even a particular fan of Frozen. These were closely followed by Lewis Doley and Natalie Buzzard with Fairytale of New York during a Christmas Rocks Medley. Other numbers that stood out for me were Never Fall in Love with an Elf (Rhian Clements), A Christmas Song (Chloe Turner & Tay Noronah-Hall) and Once Upon a December (Claire Brough).

A Very Musical Christmas — Routh Concert Hall, Bromsgrove —25 November 2023

Other numbers included It Feels Like Christmas, A Christmas Carol, I Wish it Could Be Christmas Every Day, Merry Xmas Everybody and the classic, White Christmas. There was good choreography, spread out from Sadie Lovelady, Claire Brough, Chloe Turner, Lotte Flynn, Josh Goodwin, Helen Gauntlett and Lisa Colvin-Grieve. One thing I did find frustrating, though, was the positioning in some full chorus numbers where shorter singers were behind those taller in the front row. Despite sitting on raised seats, there were several performers I simply could not see.

A Very Musical Christmas — Routh Concert Hall, Bromsgrove —25 November 2023

Overall, it was a well put-together production that embraced the spirit of Christmas with the audience joining in towards the end, even if it was still November at the time. Arrgh! But everyone enjoyed it, and that’s what counts.

Cheers.

Antony N Britt 

* Photos taken from social media. 

What’s the buzz, tell me what’s a-happening?
What’s the buzz, tell me what’s a-happening?

Ah, the atheist in me would love to hate Jesus Christ Superstar (JCS), however, it being the show I made my stage debut in makes it a little special instead. It also helps that Jesus’ apostles are portrayed as apathetic and full of self-important belief. In fact, the real protagonist is Judas who spends the show banging his head against a brick wall, trying to remind Jesus what he and the disciples should really be about.

Jesus Christ Superstar — The Grand Theatre, Wolverhampton — 15 November 2023

Basic plot — the last week of Jesus’ life, and the fight for his destruction by the Jewish authorities. There is no spoken dialogue, the story being told though music and lyrics with no breaks. But JCS works in this format, flowing seamlessly from one number to the next with a good rock vibe from Andrew Lloyd-Webber’s original score. Okay, some of Tim Rice’s lyrics are questionable at times (Jesus calling Judas, a Judas?) but overall, it is plotted well.

Jesus Christ Superstar — The Grand Theatre, Wolverhampton — 15 November 2023

Leading the show as Jesus was Ian McIntosh who I last saw as Galileo in We Will Rock You. Equally as strong now as he was on that occasion, McIntosh’s delivery of Gethsemane was one of the strongest performances I have seen in any musical theatre number. Not so much, Shem Omari James in the role of Judas. Jesus’ betrayer is meant to be forceful, and I was not convinced. With poor diction, I struggled to understand James and felt the show dropped on each appearance. Outstanding though was Hannah Richardson as Mary, performing I Don’t Know How to Love Him. Equally so during the fight with Christ was Ryan O’Donnell who came into his own during Act Two as Pilate. This is good as Pilate’s Dream during the first half is the weakest song in the show.

Jesus Christ Superstar — The Grand Theatre, Wolverhampton — 15 November 2023

As the gravelled-voice Caiaphas we had Jad Habachi with Matt Bateman playing the scheming Annas. Both led their team well, especially during This Jesus Must Die. However, I found Herod’s Song terribly dumbed down and the performer not even credited in the programme. Yes, I know it was originally Julian Clary (who now thinks it more important to do panto), but for heaven’s sake (no pun intended) credit the actor taking on the role.

Jesus Christ Superstar — The Grand Theatre, Wolverhampton — 15 November 2023

There was a lot to like about this production, but I still found it needlessly arty at times. On the one hand, enjoying the busker/hippie vibe of Jesus’ followers, but then at odds with the strange throwback to the 1970s film imagining of the priests. An excellent band led by Tom Deering was in a gantry on stage for all to see. A nice touch, but I found Drew McConie’s choreography rushed on occasions, seeming to run out of ideas as if performers were given the instruction, we haven’t got time to do more complex moves, so just wave your arms aimlessly. Directing was Timothy Sheader and although there was much to enjoy, I still found my attention wandering. Maybe if I had been more captivated, I might not have noticed that Jesus appeared to be crucified on a speaker stand. And then there was 39 Lashes where instead of being whipped, the crowd threw glitter over Christ instead. The biggest let-down though was Judas’s Death where there was no hanging, but the dropping from a height of a power cable. A simple but effective set from Tom Scutt included a large cross which doubled as a walkway and Last Supper table at times. However, this was positioned so far stage left that anyone in the first half dozen seats on that side could not see it.

Jesus Christ Superstar — The Grand Theatre, Wolverhampton — 15 November 2023

Overall, I’m sure most went home happy after this Regent’s Park Open Air Production, but frankly, I’ve seen better from Am-Dram companies.

Cheers.

Antony N Britt

* Photos Taken from Social Media.

You’re sleek as a thoroughbred. 

Your seats are a feather bed. 

You’ll turn everybody’s head today.

Several years back I watched a professional performance of Chitty Chitty Bang Bang (Reviewed on this site) and was extremely underwhelmed by the interpretation of one of the classics from my childhood. However, after seeing Bilston Operatic Company in Peter Pan twelve months ago, I attended this one with optimism for something special, and was not disappointed.

Chitty Chitty Bang Bang — Wolverhampton Grand Theatre — 8 November 2023

It’s always a good benchmark when time flies through a show, and this was the case here. I didn’t think about anything else with other thoughts forgotten.

I am not going to go over the plot. If you don’t know Chitty Chitty Bang Bang, where have you been all your life? Adapted by Jeremy Sams from the 1968 film written by Roald Dahl, Ken Hughes, and Richard Maibaum, itself based on Ian Fleming’s 1964 novel, the show features both original film and new songs from musical legends, Richard and Robert Sherman.

Chitty Chitty Bang Bang — Wolverhampton Grand Theatre — 8 November 2023

The first thing I must highlight was the absolute quality. Bilston Operatic are the best amateur company I have seen to date. Sure, their budget must be huge; you could tell this by the fact the entire chorus were Mic’d. But they obviously reclaim costs by filling the impressive Wolverhampton Grand for seven performances with shows people (particularly families) want to see. It is unusual for amateur companies to do midweek matinees, but the house was sold out, partly due to several classes of children on trips. How lovely. An enjoyable school outing and a way to get children on mass immersed into the experience of musical theatre. Hopefully, many will have sat and thought, “I want to do that,” and join a youth theatre company as a result.

Chitty Chitty Bang Bang — Wolverhampton Grand Theatre — 8 November 2023

Leading the cast as Caractacus Potts was the incredibly impressive Alec White. Perfect for the role, commanding the stage and outstanding during Me Ol’ Bamboo, You Two and Hushabye Mountain. As Truly Scrumptious we had Issy Checketts, instantly at home in character and marvellous during Lonely, Lonely Man and Doll on a Music Box.

Chitty Chitty Bang Bang — Wolverhampton Grand Theatre — 8 November 2023

I was also overly impressed with the children playing Jeremy and Jemima (Daniel Webley and Eden Owen). Both were excellent and looked easily at home on stage, working well with the adult cast, especially in the song and dance with Grandpa Potts (Mike James) during Posh! The child actors were split into two groups for alternating performances in this production, therefore I should credit Oliver Rudge and Lara Maguire who I didn’t see but am sure were equally as good.

Chitty Chitty Bang Bang — Wolverhampton Grand Theatre — 8 November 2023

Supporting well in the cast were Stacey Lovatt (Baroness Bomburst) and Jon Ranwell (Baron Bomburst). Both were excellent in Chu-Chi Face and captured the spirit of the roles well. Equally so was Ally Burkett as The Toymaker and Nicholas Sullivan, The Child Catcher who adopted the familiar and best guise used by Robert Helpmann in the original movie. Two of my favourites, though, and used expertly were the Vulgarian spies: Boris (Olly Derham) and Goran (Ben Evans). These are roles expanded in the musical, full of comic relief and both worked well during Act English.

Chitty Chitty Bang Bang — Wolverhampton Grand Theatre — 8 November 2023

This is the second time in a few weeks Simon Pugh has been at the helm of a production that I have seen, and both have been excellent. And the direction of Tye Harris was superb with lots going on in the background and a good flow to proceedings. Equally so, from Gareth Howard, musical direction led to an all-round wave of top tunes and sound. These included Toot Sweets, Truly Scrumptious, The Roses of SuccessTeamwork and of course, the title song itself. And then there was the dance. With Martyn Davies in charge, we saw energy and precision throughout, even a dance ignoramus like me taking note. Particularly in The Bombie Samba, which when I saw the professional show, was a huge bore fest. However, here I was captivated, and it was a highlight. Just goes to prove what you can do with the right people.

Chitty Chitty Bang Bang — Wolverhampton Grand Theatre — 8 November 2023

One of my favourite childhood films, badly let down a few years ago but now with faith restored by the wonderful Bilston Operatic Company. Peter Pan last year, Chitty Chitty Bang Bang now, and Nativity in 2024. Bilston certainly know the formula to bring in revenue to make such splendid productions.

Chitty Chitty Bang Bang — Wolverhampton Grand Theatre — 8 November 2023

Cheers.

Antony N Britt

* Photos blatantly taken from social media.