Latest Entries »

The Little Mermaid — Crescent Theatre Birmingham — 12 July 2024

July 15, 2024

Up where they walk, up where they run.
Up where they stay all day in the sun.
Wanderin’ free, wish I could be,
part of that world.

The Little Mermaid — Crescent Theatre Birmingham — 12 July 2024

You might think that seeing so many youth productions I would become accustomed and end up taking them all for granted. However, with each one, something fresh always comes along which then completely blows me away.

I have been watching Birmingham Youth Theatre for years now and have seen some extraordinary talent depart and new emerge. And it is when you become a regular attendee that you witness the progression of that talent. Always with a warm welcome, BYT this time offered Alan Menken’s, The Little Mermaid. Not a show I have seen before but familiar with many of the songs, and not through Disney either. I have been involved in many in concerts of my own, and suddenly realised at times, Oh yes, it’s that one.

Full of colour and energy with excellent vocals, choreography and direction, this performance flowed so well it was over before you could catch breath. Always a good sign when you don’t even have to check how long Act One has been going. I have said in recent reviews about the quality of amateur and youth societies and would yet again recommend the same. They are up there with the best shows, and cheap to watch. Win win!

The Little Mermaid. Classic tale of a fishy princess who trades her soul for love but regains it through that love itself. Menken’s score is a good one and with lyrics by Howard Ashman and Glenn Slater, plus a book from Doug Wright, it is one of the best musicals around. And BYT totally did the show justice.

Bit of an odd one this time with cast; many of the programme listings only gave first names, so I shall respect that and credit as printed.

Ariel was played by Eva Phelan who captured the spirit of the character from the start and was perfect during Part of Your World. In the role of Prince Eric was David Morrison who I have seen develop over the past couple of years and the vocals have now reached a marvellous level with the delivery of Her Voice excellent indeed. Supporting well was the roller-skating Flounder (Shire C), the extremely red lobster, Sebastian (Andrew Morrison) and my favourite character of the show, Scuttle the Seagul (Lucie).

But then there be baddies and strife, and Sharouq A was decidedly evil as Ursula, supported well by Casey Michaela (Flotsam) and Livy Owen (Jetsam). I enjoyed Daddy’s Little Angel but still prefer the song it appears to have now replaced — I Want the Good Times Back. However, Sharouq’s rendition of Poor Unfortunate Souls was up with some of the best that I have seen.

In King Triton’s (Alex) palace we had Grimsby (Gethin Randerson) and six sisters for Aurora in the form of Lola Swoffer (Aquata), Daisy Wright (Andrina), Cerys Worthington (Arista), Lucy J (Atina), Sophie T (Adella) and Sophie Ashford (Allana). The number, She’s in Love particularly rocked with great vocals and energy and was my favourite song of the night.

Rounding off the named cast were Luke (Chef Louis), Finn H (Pilot), Ava Jones (Winward) and Anna (Leeward). And no production can work without an ensemble and here I pay tribute to Alex Lee, Amelia R, Amelia Soffe, Ava, Aya, Bella, Breah Grimley, Eden Blaney, Edina, Ella Peirce, Emily, Erin Louise, Eva Campbell, George B, Georgie D, Hannah A, Jess, Loaira Carvalhido-Gilbert, Marni, Martha McGrath, Meg Allsop, Niamh, Oonagh W, Sophia C, Tabitha Vlok, Talia, Tayla and Thomas. Please message me if I’ve accidentally missed anyone out.

On the creative team, Vivienne Morrison as Director/Choreographer can be incredibly pleased at yet another perfect production which was one of the best I have seen. Aiding well on production, though, were Maddison Clarke and Luke Griffiths with the former also co-choreographing outstanding movement from the specialised dancers in the show. Finally, Chris Corcoran was at the helm with musical direction which led to further good numbers including Under the Sea, Positoovity, Kiss the Girl and If Only, of which the quintet version blew me away.

I must also commend the excellent costumes and use of a video screen backdrop which worked well. So, another successful production from a wonderful youth company. BYT return early 2025 with the annual pantomime and this time it is Snow White. I shall certainly be there, and so should you.

Cheers.

Antony N Britt

*Photos taken from social media and taken by Paul Goode Photography.

Tags: Antony N Britt, Birmingham, Birmingham Youth Theatre, Crescent Theatre, Musical, Musical Theatre, review, Theatre, West Midlands, Youth, Youth Theatre

Comment

We Will Rock You — Highbury Theatre, Birmingham —6 July 2024

Filed under: Reviews — Leave a comment

July 10, 2024

I have become a regular attendee at Script Youth Musical Theatre Company productions, therefore, combining them with the music of Queen was just a win-win situation for me.

We Will Rock You — Highbury Theatre, Birmingham —6 July 2024

We Will Rock You — The music of Queen with a script by Ben Elton has been doing the rounds for ages now and when I first saw it professionally a couple of years back, I was underwhelmed by Elton’s book. Now, this production was a youth edition, adapted by Marc Tumminelli, and as a result, some of the more padded out dialogue had been cut. So, in contrast to those professionals in 2022, Script’s offering flowed seamlessly throughout.

Plot. A not so far distant future where music and people’s minds have been eradicated by control of the internet. It is therefore up to a few rebellious youths to re-discover the lost genres of music. And it’s rock music, not just any old music. Favourite lines of the show:

We can do it a cappella if necessary. NO! It’s never necessary.

Kian Haden had the massive job of taking on Galileo and was out of this world, and the same can be said for Aimie Whillis playing Scaramouche. The duet of Who Wants to Live Forever was sublime. Both leads were strong in every department. Then, equally supporting well was Louise Heard as Killer Queen, delivering a powerful rendition of Another One Bites the Dust. Completing the bad guys was Finlay Laidlaw as Khashoggi who gave a truly villainous performance, up with the best. Seven Seas of Rhye was outstanding.

Evie Rice was Ozzy alongside Sam McCormack in the role of Brit. Both teamed up for an incredible outing for I Want it All. Completing the frontline principals was Ruby Edmonds who showed she had moved into a different league twelve months on from School of Rock where she learned guitar for that show. Guitar solos were extremely good, including a classic in the finale of Bohemian Rhapsody.

Massive credit must also go to the fantastic dancers under the choreography team of Mollie Chamberlain and Maddie Fleming. Script’s dancers are always perfect with innovative ideas and delivery. These were Lexie Shaw, Lewis Ward-Bygrave, Izzy Round, Lola Weir-Phillips, Francesca Roberts, and Darci Rice.

Completing the cast were Calvin Gunnharrold (Ringo), Corey Mayne (Michael), Mya Cartwright (Aretha), Ollie Dawes (P Puff Diddy Daddy), Jess Lewis (Sixx), Lilah Edmonda (Bruce), Zachariah Scrivens (Paul), Daniel George (Guard), Dean Donnelly (Guard), Molly Fitzpatrick (Quatro) and Nevada Grizzle-Francis (Teen Queen).

My favourite number of the night was No-One But You (Only the Good Die Young). And that’s where I went all emotional. You see, nothing breaks me. Well, barely anything, anyway. But beautiful vocals going with screen images of dear departed rock legends got me. I was wavering throughout, seeing Bolan, Bowie, and Kurt Cobain, and then Taylor Hawkins appeared on screen, and I was gone.

I could not see a band, or anything credited for music in the programme, so I assume backing tracks were used. Not always easy but the vocals were brilliant. I must also commend the wonderful costumes, credited to the wardrobe exploits of Jo Rice and Vicky Round. Overall, a production up with anything I have seen from Script so far, and anywhere else, for that matter. Producer, Louise Farmer can be well proud of her cast and crew. Here’s to the next one.

Cheers.

Antony N Britt

*Photos taken from social media and originally produced by Studio 55 Photography.

Tags: Antony N Britt, Birmingham, Highbury Theatre, Musical, Musical Theatre, Queen, review, Script, Script Youth Musical Theatre Company., Theatre, We Will Rock You, West Midlands, West Midlands Events

Comment

The Diary of Horace Wimp — Norton Canes School — 6 July 2024

Filed under: Reviews — Leave a comment

Sandwiched in-between a rehearsal of my own and an evening show I had already booked, my fiancée and I found ourselves with three hours to kill and I remembered Steve Hughes from Hughes Media recommending Spotlight Youth Productions. I must admit, I was intrigued by the billed show — The Diary of Horace Wimp, as it could only refer to the 1979 ELO song of the same name.

The Diary of Horace Wimp — Norton Canes School — 6 July 2024

This show is an original concept (We like original scripts) by Steve Groves with musical content selected by Groves and musical director, Ian Windsor. Directing was Andrew Cox and Michelle Windsor with Nigel Anderson as producer. And the plot followed pretty much the song in question where poor Horace, in a dead-end job, meets the love of his life. More turmoil and strife follow before an inevitable happy ending. The songs themselves all came from UK Midlands based bands and (more often than not) an era I grew up in. The script really stood out to me as a writer, and it is something I, having been there myself, would have been proud of.

From the opening bars of Black Sabbath’s Paranoid, I was hooked. Size of a Cow (Wonder Stuff), Rio (Duran Duran) A Message to You (Specials), Ordinary World (Duran Duran again and loved it), plus a plethora of ELO tunes such as Mr Blue Sky, Rock and Roll is King and the title of the show, The Diary of Horace Wimp. This latter was a good example of an incredible amount of energy which on top of the obvious high talent on display, was clear throughout. I remember turning to my fiancée after about 20 minutes and just saying with a wide beam, “I love this.” They even resurrected a hit from my long-forgotten memory dump of 1984 with Stephen ‘Tin Tin’ Duffy’s, Kiss Me. I also enjoyed the psychedelic dreamers, particularly during Flowers in the Rain (The Move). Great costumes throughout as well.

In the lead roles were Ben Coleman as Horace and Lottie Carter playing Rio. Both were excellent and duetted well for a lovely rendition of Slade’s, How Does it Feel? Then, supporting strongly were Nadine Hewitt and Immy Green as the narrators, Jess Walker (Barbara Wimp), Jake Sylvester (Harry), Sadie Groves (Henrietta), Leyshon Simms (Hugo), Becky Cartwright (Rev. Eileen), Mabel Deakin (Rosetta), Freya Gould (Rosie), Stella Franklin (Reagan), Ellie Coleman (Donna), Joel Parker-Pearson (Dave), Isla Mason (Doris), Alfie Stokes (Mr Brent), Emily Hughes (Ms Tinsley) and Lucas Pearson (Dream Horace). Finally, there was Nancy Arnold who gave a fabulous lead in my favourite number of the show — Xanadu.

A few years ago, another youth company thanked me for naming the entire cast and said how much it meant to the kids. Talk about Rod – Ones – Back. Still, here goes, and please message me if I miss someone or get a name wrong. Come on, there are over 50 of them! So, also brilliant were Mellisa Connaire, Emilia Dodd, Hanna Ellison, Casey Godwin, Heidi Gottschall, Courtney Guy, Belle Hales, Evie Johnson, Scarlett Palij, Ffion Pountain, Nellie Stokes, Dol Taylor, Emily Weaver, Isabelle Allport, Macy Bate, Miyah Bate, Maisy Dennis, Amelia Critchley, Grace Elson, Danni Hackett, Evie-Mae Jakes, Freya Longdon, Paloma Shelley, Mariama Trawally, Jess Deakin, Amelia Exton, Lucy Gouge, Iona Gould, Ben Mason, Riley Morris, Victor Parker, Ayva Redmond and Harriet Weaver. Phew!

This was a wonderful show, made even more special, having gone into it blind, by seeing some children of those I have performed alongside over the years, and even a couple of kids I directed in my pantomimes and performed with. Credit must also go to Ian Windsor (Keys) and his band of James Windsor (Drums), Steve Parker-Pearson (Guitar) and Chris Pearson (Bass). Last week, I watched Geezer Butler (Black Sabbath) play Paranoid with The Foo Fighters in front of tens of thousands, and this offering kicked as much ass.

Spotlight return next January with Aladdin and having found yet another marvellous youth company, I promise I shall be back.

Cheers.

Antony N Britt

Tags: Antony N Britt, Norton Canes, review, Spotlight, The Diary of Horace Wimp, Theatre, West Midlands, Youth Theatre

Comment

Green Day — Wembley Stadium — 29 June 2024

Filed under: Uncategorized — Leave a comment

July 8, 2024

It’s something unpredictable, but in the end it’s right. I hope you had the time of your life.

I’m often asked, “What is the best gig you have ever been to?” And I will say Green Day. “Ah, but which one?” they add. All of them, I reply.

Green Day — Wembley Stadium — 29 June 2024

And that was the case at Wembley Stadium, Saturday 29 June 2024. You see, I have been to hundreds of gigs, from huge stadiums to venues which hold under 50, and Green Day have that bit extra than any other of my favourites. Three hours of high energy, excellent music and good old kick-ass fun. Even if you’re not a fan, I defy you not to have left the stadium with a wow! What just happened?

Green Day — Wembley Stadium — 29 June 2024 © Antony N Britt

From the moment the audience sang along to Bohemian Rhapsody, into Drunk Bunny dancing to Blitzkrieg Bop, and the band entering for the main event, right until that final curtain of Good Riddance (Time of Your Life), everyone present was transported into nothing short of heaven. Or whatever one imagines heaven to be.

After opening with The American Dream is Killing Me from the recently released Saviours album, the guys then played 1994 monster, Dookie, in full, even including the hidden bonus track (All by Myself) at the end. Obviously, 1994/2024 gives away the reason for this as it’s the 30^th anniversary of the classic. But what an album it was: Burnout, Having a Blast, Longview, Welcome to Paradise, Pulling Teeth, Basket Case, When I Come Around and much, much more, as they used to say on the old 1970s K-Tel compilation adverts. It’s a banging record and probably only second to their most iconic. Also, during She, there was a guest appearance on guitar with Billie Joe Armstrong’s son, Jakob.

Which brings us, not at all coincidentally, to the second album to be done in its entirety on the day, as it is also the 20^th anniversary of American Idiot. In between the two spotlighted sets we had a short mix of top tunes past and present including Know Your Enemy, Brain Stew and Minority from hits of old, to One Eyed Bastard, Look Ma – No Brains and Dilemma from the 2024, Saviours.

American Idiot. What can I say? It’s epic and not a single song on it that I don’t like. The perfect album and probably the one out of the 2000+ I own that I’d take to a desert island. The title rack, into Jesus of Suburbia, then Holiday, it just gets better and better with each listen, and to hear it in its entirety at Wembley Stadium with 80,000 people was something even I struggle to put into words. Phenomenal.

Finally, after one more new track in Bobby Sox, we had the staple finisher and a Billie Joe Armstrong solo with the already mentioned Good Riddance (Time of Your Life). Tre Cool, Mike Dirnt and co returned for the applause where Armstrong appeared overwhelmed, seated at the front of stage as he took in the atmosphere.

I can say the entire day was incredible. Also unpredictable, but I did have the time of my life.

Cheers.

Antony N Britt

Comment

Foo Fighters — Villa Park — 27 June 2024

Filed under: Reviews — Leave a comment

Last time I saw Foo Fighters it was an emotional experience, with the then recent and (still to this day) devastating loss of Taylor Hawkins. And it was on that day two years ago that Josh Freese opened the drumming of main set. Therefore, out of all the guest artists, it was no surprise when it was announced who the new full-time drummer would be.

Foo Fighters — Villa Park — 27 June 2024

First off, get the negatives out of the way. Negatives! How can any Foo Fighters gig have a negative? Well, Villa Park for a start. I must have drawn the short straw out of the three stands of seating because the Doug Ellis Stand was poor. No food, warm drinks, 50+ queues for the each of the female toilets, most cramped seats in an arena ever, and a rear concourse where several thousand had to navigate and was about the width of my living room. People were getting crushed and having panic attacks, but I was suitably informed by a local, “You think this is bad, you should see it on match days.” The other downside was the sound being a bit iffy. A heck of a lot of feedback to the point I could barely understand a word Dave Grohl said all night. And we all want to hear the Grohl.

Foo Fighters — Villa Park — 27 June 2024 © Antony N Britt 2024

Kicking off with All My Life, we then entered more recent territory and songs which were not available or played at the tribute. No Son of Mine and Rescued tell us what every long-lasting fan would want to hear, that new material is as good as anything before. The staples then continued with The Pretender, broken by an interlude of Stairway to Heaven which Grohl threatened to play in full unless a little crowd disturbance ceased. Thankfully, the ploy worked, and we got a mix of hits and new material: Walk, Times Like These, Breakout and My Hero interspersed with La Dee Da, Nothing at All and Under You from the 2023 album, But Here We Are. Also, from that album we had The Teacher. 10-minutes’ long and a tribute to Dave Grohl’s mother who died shortly after Taylor.

Now, the Foos are known for having A-List guest stars at their gigs and this time it was local lad Geezer Butler of Black Sabbath fame (who used to live three streets away). Joining on bass, the crowd were treated to a full-blooded beast of a rendition of Paranoid. There was also another (and more poignant) guest in the form of Taylor Hawkins’ son, Shane Hawkins, last seen at his dad’s tribute in 2022. One month short of turning 18, the energy of his father was there for all to see during This Is a Call, and he looked and sounded as if he would be at home in any top band.

Monkey Wrench, Best of You, These Days and Learn to Fly were there, as was one of my favourites, The Sky is a Neighbourhood. One other song to note is Aurora, Taylor’s most loved Foo Fighters song which is played at all gigs now in tribute.

Rounding off the night was, as always, Everlong, and the crowd went wild. Sound issues and shitty stadium aside, it was a great night and Dave Grohl promised to be back. “As long as you guys keep turning up, we’ll keep playing.” I’ll settle for that. The world is not done with the Foo Fighters yet. Not by a long way.

Cheers.

Antony N Britt

Tags: Antony N Britt, Birmingham, Dave Grohl, Foo Fighters, Music, review, Rock, Rock Music, Villa Park, West Midlands, West Midlands Events

Comment

School of Rock — Brierley Hill Civic Hall — 8 June 2024

Filed under: Reviews — Leave a comment

June 24, 2024

Alright, yes, I confess that my actual name is Dewey Finn, yes indeed.
And although you should know I’m not licensed to teach, I promise you, I can read.

School of Rock — Brierley Hill Civic Hall — 8 June 2024

School of Rock is about living your dreams, and for the performers themselves, those dreams are fulfilled while taking part. This show has everything. A great, funny script by Julian Fellows, a cracking score from Andrew Lloyd Webber and Glenn Slater … and rock. What more can you wish for?

It’s the story of Dewey Finn, an unsuccessful rock artist who after being sacked by his band, poses as a teacher to pay the rent. Once at Horace Green School, he discovers his pupils are musically talented and engineers a plan for them to compete in the Battle of the Bands. Really, it’s grooming and corruption of minors at the highest degree, but also a plot which works well, all very tongue-in-cheek farce.

I made the vow a few years ago to see School of Rock at every opportunity and this time it was the excellent Quarry Bank Musical Theatre Company delivering the goods. Always a challenge, QBMTC perform in a venue I acoustically hate, but the power of rock truly overcame that this time.

In the role of Dewey was Carl Cook who had the enormous task of being centre stage for over 80% of the time (There is a reason I know this). Leading the cast well, Cook gave us When I Climb to the Top of Mount Rock as well as joining the kids in the massive numbers, Stick it to the Man and School of Rock (Teacher’s Pet) among others. Alongside him as Rosalie Mullins, the headmistress, we had the fabulous Sarah Coussens whose offering of Where Did the Rock Go was amazing. Then, supporting in fine fashion were Tom Robinson as Ned and Bryany Palmer playing Patty.

But the real standouts for this show are the kids, especially those playing instruments live. These were Finlay Hassall (Zack), Adam Porter (Freddie), Kersten Davies (Katie) and Maria Riga (Lauren) in the band. Then, in the other roles we had Daisy May Sandel (Summer), Connie Davies (Tomika), Charlotte Carter (Sophie), Lilybell Greaves (Shonelle), Dylan Henry (Billy), Sofia Nicol (Marcy), Eliza May Plant (Maddison) and Jett Richards (Mason). All excellent and as good as any professional production. In fact, my top tunes this time were Time to Play and If Only You Would Listen.

The director was Mike James with choreography from Attiye Passey and musical direction by Chris Passey. Having seen this show many times, I still find something new, and I found the arm waving by the kids during Math is a Wonderful Thing funny, showing just how far into loving the deception they are.

There were not many negatives for me, but the addition of dancers into some songs kind of metaphorically photobombed the moments, especially during Where Did the Rock Go. However, in a show with very little for a larger adult cast, I can appreciate the need to give everybody stage time. Overall, the audience will have gone home happy and I’m probably being over picky, knowing Scholl of Rock so well.

This is an incredible show and I defy anyone not to love it. And QBMTC certainly delivered the goods.

Cheers.

Antony N Britt

*All photos taken from social media.

Tags: Antony N Britt, Birmingham, Musical, Musical Theatre, Quarry Bank, Quarry Banks Musical Theatre Company, review, School of Rock, Theatre, West Midlands

Comment

Guys and Dolls — Stourbridge Town Hall — 18 May 2024

Filed under: Reviews — Leave a comment

May 20, 2024

They call you Lady Luck,
but there is room for doubt.
At times, you’ve had a very unladylike way of running out.

Guys and Dolls — Stourbridge Town Hall — 18 May 2024

With the music and lyrics of Frank Loesser and a book by Jo Swerling and Abe Burrows, Guys and Dolls is based on two short stories by Damon Runyon. Hailed as the perfect musical comedy, this show gambles with luck and love under the lights of Broadway.

Now, I’ll kick off this review by speaking about the original template companies work with. I am known for giving honest feedback and in my opinion, Guys and Dolls has one of the dullest scripts in musical theatre, compounded with a forgettable score and numbers which add nothing to an already weak and embarrassingly dated plot. But that’s all I shall say negatively because any more would detract from the wonderful performances and professionalism of Tinkers Farm Opera.

And what a company they are. Top quality offerings from all the cast with outstanding vocals, excellent dance and acting of the highest order. In the role of Sky Masterson was Richard Cooper who was commanding in presence and shone particularly during Luck be a Lady, which is easily the most recognisable tune in the show. As love interest, Sarah Brown, we had Gabby Baldwin, equally as strong and excelling during If I Were a Bell.

Tony Newbold played henpecked gambler, Nathan Detroit, adding comedic instances and duetting well with Bethan Siviter-Coupland in Sue Me. I was particularly impressed with Siviter-Coupland’s portrayal of Miss Adelaide, and she reminded me of Madeline Kahn at times in approach. Comic relief was also given by Tyrone Howell (Nicely-Nicely Johnson), Luke Plimmer (Benny Southstreet) and Raymond Turrell (Harry the Horse). Each equipped themselves admirably and Howell especially led an excellent ensemble well during Sit Down, You’re Rockin’ the Boat.

Rounding off the principals in good fashion was Geoff Westwood as Arvide Abernathy, and I was interested to read from the programme notes that he only entered the world of musical theatre just short of his 69^th birthday. To me, that is what amateur theatre is all about. Joining a family where it is never too late with the dream that you can do anything if you want it.

Direction, including choreography was in the hands of Emma Harley with musical direction overseen by Simon Wilkinson, fronting an impressive orchestra. Production can be immensely proud of the end results, especially as the audience went home happy after much deserved applause.

Guys and Dolls can be an expensive show to stage and has been the financial death of two companies that I know of in the past. I hope in this instance, the rewards were worth it because Tinkers Farm deserve to thrive. They return to the musical stage in Stourbridge in 2025 with Mel Brook’s The Producers. This is a musical I like and knowing it will be in the safe hands of this excellent company, I shall certainly be there.

Cheers

Antony N Britt.

*Photos taken from social media.

Tags: Antony N Britt, Birmingham, Guys and Dolls, Musical, Musical Theatre, review, Stourbridge, Theatre, Tinkers Farm Opera

Comment

Coming Soon … 9 to 5 at The Crescent Theatre, Birmingham. 24 & 25 May 2024

Filed under: West Midlands Events — Leave a comment

May 8, 2024

Workin’ 9 to 5.
What a way to make a livin’.
Barely gettin’ by.
It’s all takin’ and no givin’.

9 to 5 at The Crescent Theatre, Birmingham. 24 & 25 May 2024

Friday 24 May at 1930 marks the end of the 9 to 5 week for many, and what better way to wind down than with a trip to 1979 and the music of Country Legend, Dolly Parton.

Based on the film of the same name and with a rip-roaring score, 9 to 5 is the ultimate feelgood musical which tells the story of three women pushed to extremes. Concocting a plan to turn the tables on their sexist, egotistical boss, will they manage to reform their office, or will it all go wrong when the CEO pays an unexpected visit?

The Arcadians Musical Theatre Company have been delivering quality productions for over 50 years and 9 to 5 will be no exception. Therefore, expect lots of laughs with great vocals and harmony combined with excellent dance and acting of the highest order. One thing is sure, an Arcadians audience always goes home happy and with mainstream theatre so expensive, this is a great alternative.

9 to 5 is on at The Crescent Theatre, Brindley Place, Birmingham. Friday 24 May (1930) and Saturday 25 (1430 & 1930).

Tickets available from the box office here.

Cheers

Antony N Britt.

Tags: 9 to 5, Antony N Britt, Arcadians Musical Theatre Company, Birmingham, Crescent Theatre, Dolly Parton, Musical, Musical Theatre, Theatre, West Midlands, West Midlands Events

Comment

Love Never Dies — Grand Theatre, Wolverhampton — 4 May 2024

Filed under: Reviews — Leave a comment

Love never dies.
Love will continue.
Love keeps on beating.
When you’re gone.

Love Never Dies — Grand Theatre, Wolverhampton — 4 May 2024

It was a bold move from Andrew Lloyd Webber to create a sequel to possibly the greatest musical of all time but in the past, Love Never Dies has been met with criticism. So, as someone who had never seen this show, how did it fare against the mammoth Phantom of the Opera? Seriously, it can’t, but allow for a few minor niggles (and one major) and you have an incredible show. That is, if it is done well. I am, therefore, happy to say that West Bromwich Operatic Society (WBOS) did exactly that.

A few months ago, I was in the same theatre watching the UK tour of Jesus Christ Superstar. This was better by far. The sheer professionalism and quality from those who don’t get paid for doing their craft was out of this world. I’m trying not to use a cliche here, but seriously, you could not deny that this production was West End quality. And I see an awful lot of shows a year to make that claim.

The plot. Ten years after the events at the Paris Opera House, Christine Daae travels to New York with husband Raoul, and young son, Gustave. There they are reunited with Madame Giry and her daughter, Meg. It was these two who aided the Phantom in escaping all those years ago and now together, run Phantasma, a Coney Island amusement park.

Let’s get those negatives out the way. The opening is slow, and you have three numbers in the first fifteen minutes before anything happens. Also, some songs, such as Bathing Beauty, however good, have no relevance. Then the biggest gripe. The Phantom, once an epitome of mystery is normalised into humanity. Despite this, the show does stand well on its own merits, and I enjoyed it. To be honest, I found it even darker (if that can be possible) than Phantom.

As The Phantom himself, Dan Smith gave a five-star performance, particularly in ’Til I Hear You Sing. An amazing voice and equally so in stage presence. Matching that was Molly-Anna Riley as Christine who excelled during the title song, Love Never Dies. Tye Harris was Raoul, now married to Christine and he also played his part to perfection, especially during Devil Take the Hindmost with Smith’s Phantom. But there has been addition to the events of Paris in Christine’s ten-year-old son, Gustave. What can I say? The performance of Elijah Critchley was out of this world in voice and acting throughout, most clear during The Beauty Underneath.

The Giry’s were portrayed superbly by Holly White (Meg) and Sarah Moors (Madame), and they duetted well in Only for You and Mother, Did You Watch? Rounding off the principals were a trio of oddball characters who were the definitive of creepy. These were Adam Partridge (Gangle), Tasheka Coe (Fleck) and Connor Welch (Squelch) whose Coney Island Waltz was outstanding in leading the ensemble.

And it is those often unsung (forgive the pun) performers in the ensemble who also gave it all. Each time they featured, scenes were full of quality and every move mattered. This is a credit to the production of Simon Pugh (Director), Ian Room (Musical Director) and Claire Flavell (Choreographer). Of course, there will have been far more involved in bringing this show so successfully to the stage, and they can all be proud of the result. A perfect production in all departments.

Cheers.

Antony N Britt.

*Photos taken from social media.

Tags: Andrew Lloyd Webber, Antony N Britt, Love Never Dies, Musical, Musical Theatre, Phantom of the Opera, review, The Grand Thatre Wolverhampton, Theatre, WBOS, West Bromwich Operatic Society, West Midlands, Wolverhampton

Comment

The Addams Family — The Crescent Theatre, Birmingham — 25 April 2024

Filed under: Reviews — Leave a comment

April 26, 2024

Ah, the intoxicating smell of the graveyard.

The Addams Family — The Crescent Theatre, Birmingham — 25 April 2024

Forever the champion of local productions, I am always delighted when I see one where you can’t tell the difference between amateur societies who pay for the pleasure, and the professionals, who get paid for it. And this was the case with Bournville Musical Theatre Company (BMTC) and their offering of The Addams Family.

I have an admission. The Addams Family is not high on my list of favourite musicals. I find Marshall Brickman and Rick Elice’s story basic at best with sub plots that don’t go anywhere. And in the past, I have been underwhelmed by some of Andrew Lippa’s songs which come across as fillers and don’t move the plot along. However, the fact I still enjoyed The Addams Family shows BMTC did their job. Amateur or professional? If you didn’t already know, an audience would have believed this production was part of a major tour due to the quality being of the highest standard. Everything 100% throughout with no negatives from cast and crew.

Let’s start by meeting the family. John Morrison starred as Gomez and was instantly at home in the role, bringing us a character so recognisable and more of a Gomez than Luis Guzman whose portrayal in the hit TV series, Wednesday, I didn’t warm to. Joining Morrison at the top of their game was Lily Moore who played the vampish Morticia, also capturing her character. It says it all when you have witnessed these actors perform before, but don’t see them now, only the personalities they are creating. That was also the case with Lewis Doley who truly was Fester. All the mannerisms and persona were there. One of the best characterisations I have seen in a long time.

Now, I had never seen Meg Donovan in a full show before, but it was obvious as to the huge amount of work and skill that went in to being Wednesday Addams. So more difficult bearing in mind how much the character has been on TV in the past year. This was an excellent performance. Then, as Lurch, we had Randy Johnson who had the unenviable task of having to keep still and straight faced for much of the time, but the fact that the audience loved and reacted to this character showed just how well the job was done. Rounding off the family were a couple more Morrison’s in Viv (Grandma) and Andrew (Pugsley). Again, excellent in all areas.

The plot of this show is that Wednesday is in love and wants to introduce her boyfriend to the family. And that’s it. But to do this you need to have a boyfriend, therefore, meet the parents. Stuart McDiarmid slotted into being Lucas Beineke with ease, giving a polished performance. Likewise, Phil Snowe was great as the father, Mal, displaying the horrified realisations of what are we getting ourselves into? Finally, in the principals, Lisa Colvin-Grieve was outstanding as Alice Beineke, a character who goes through a huge transformation and loses the plot. So entertaining.

A major plus of this show is that the scope for ensemble is endless. With the inclusion of ancestors, who get a good deal of stage time, each individual production can create their own ancestors and all cast are accommodated. Here, each played their parts well, and were creepy indeed, decked out in white with likewise faces.

Stand out numbers in the show include When You’re an Addams, Pulled, Let’s Live Before We Die, The Moon and Me and a special shout out to Pugsley’s What If? Then the Full Discloser scene rounds off Act One perfectly. My favourite moment in the show is when Gomez and Morticia both realise they thought Grandma was each other’s mother, and that she may not be related to them after all.

In production, this was Chloe Turner’s first time as director after years being in a leading role or choreography, and what an excellent job she made of it. Always something going on with movement and delivery spot on. It was also a family affair with Chloe’s sister, Sadie Lovelady once again taking the helm in choreography and keeping the highest standards that BMTC audiences have come to expect over the years. Finally, Chris Corcoran was there as musical director, as always producing incredible sounds with the cast and 12-piece band.

There are only a handful of tickets available for the remaining performances. Therefore, don’t delay and grab them now, while you can.

Cheers.

Antony N Britt

* Photos taken from social media.

Tags: Addams Family, Antony N Britt, Birmingham, Bournville, Bournville Musical Theatre Company, Crescent Theatre, Musical, Musical Theatre, review, Theatre, West Midlands

Comment

Antony N Britt – Author

Finding Jessica

Finding Jessica

Latest Entries »

The Little Mermaid — Crescent Theatre Birmingham — 12 July 2024

Antony N Britt

We Will Rock You — Highbury Theatre, Birmingham —6 July 2024

Antony N Britt

The Diary of Horace Wimp — Norton Canes School — 6 July 2024

Antony N Britt

Green Day — Wembley Stadium — 29 June 2024

Antony N Britt

Foo Fighters — Villa Park — 27 June 2024

Antony N Britt

School of Rock — Brierley Hill Civic Hall — 8 June 2024

Antony N Britt

Guys and Dolls — Stourbridge Town Hall — 18 May 2024

Antony N Britt.

Coming Soon … 9 to 5 at The Crescent Theatre, Birmingham. 24 & 25 May 2024

Tickets available from the box office here.

Antony N Britt.

Love Never Dies — Grand Theatre, Wolverhampton — 4 May 2024

Antony N Britt.

The Addams Family — The Crescent Theatre, Birmingham — 25 April 2024

Antony N Britt

Antony N Britt on Facebook

Follow Antony N Britt

Antony N Britt @ Twitter

Recent Posts

Archives

Links - Writing Related Sites

Recommended Authors

Websites of Local Interest (West Midlands)

Friends & links

Pages

Monthly archives

Finding Jessica

Finding Jessica

Latest Entries »

Antony N Britt

Share this:

Antony N Britt

Share this:

Antony N Britt

Share this:

Antony N Britt

Share this:

Antony N Britt

Share this:

Antony N Britt

Share this:

Antony N Britt.

Share this:

Antony N Britt.

Share this:

Antony N Britt.

Share this:

Antony N Britt

Share this:

Follow Antony N Britt

Antony N Britt @ Twitter

Recent Posts

Archives

Links - Writing Related Sites

Recommended Authors

Websites of Local Interest (West Midlands)

Friends & links

Pages

Monthly archives