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 have recently completed reading the entire Agatha Christie collection (Not in one go, I may add) and even though Miss Marple is my least favourite protagonist of The Queen of Crime, I went happily along to see The Mirror Cracked. Of course, having read the book, I already knew whodunnit, but that did not spoil things.
Miss Marple is drawn into the murder of a village local when the intended target is thought to be Hollywood actor, Marina Gregg who has recently arrived in the area. A few character changes and minor differences, but the plot largely remained the same as in the novel, one of Christie’s more acclaimed.
With a simple but effective revolving set, many scenes involved flashbacks which take place while Marple (played superbly by Susie Blake) discussed and pondered with all involved. The way these were handled allowed the plot to move seamlessly from one scene to another and worked well, never letting the production drop. Centre of many of these was Chief Inspector Craddock in whom Oliver Boot really shone, making Craddock the comic foil for most parts. And humour was present in other areas to lift and add another dimension to a script which could easily have fallen stale.
Also on top billing was Sophie Ward as movie star Marina Gregg with Joe McFadden as husband Jason and both delivered the top performances you would expect. Supporting well, though, were Mara Allen (Cherry Baker), Sarah Lawrie (Ella Zielinsky), Lorenzo Martelli (Giuseppe), Jules Melvin (Heather Leigh), David Partridge (Cyril Leigh), Veronica Roberts (Dolly Bantry) Chrystine Symone (Lola Brewster) and Holly Smith (Party Guest/Assistant Director/Policewoman). Production for The Mirror Cracked was in the hands of Tammy Rose while direction was by Phillip Franks. This adaptation was from Rachel Wagstaff with results of the highest quality.
So, even though I knew the outcome, it was still enjoyable watching events unfold. The only criticism I would have was the absence of microphones. The New Alexander Theatre is a large venue and even though I was on row F of the stalls, I struggled at times, so heaven knows how those at the back of the Rear Circle fared. I know it’s traditional, but this is 2023; the technology is there — use it.
As with all Christie stories, it is near impossible to name the murderer until the end but so well is it crafted, you realise the clues were always there. A good evening out for an enjoyable touch of murder and intrigue.
*** Catch up time, because I’ve fallen behind writing my reviews. Not convincing reasons, but in my defence, they do involve theatre and learning lines. ***
How does a person who knows nothing about dance review Strictly Come Dancing Live? Yes, that’s me, who can’t tell a Paso Doble from … well, erm … a Paso Doble. And I don’t follow celebrity culture so had only heard of half the contestants, therefore, this evening out was always going to be challenging.
I’m guessing in an audience already 80% female, the remaining included many who were there only as a Plus One. So, what was on offer for us poor folk who thought Strictly was something you only had to put up with a few weeks on TV each year?
The answer — Colour, lights, sound and wonderful movement along with excellent singing to back it up. You see, you didn’t have to know much; it was a spectacle, end of, and I’d defy anybody to say they hated the experience.
Sure, I still knew nothing and quite frankly would have held up a score panel to say 10 for every dance, so even though there was opportunity to vote for favourites to win on the day via text, I didn’t do so. I’d have only gone on personality, not technical ability, although I suspect that is what happens on both this, and the TV show itself at times.
Hosting proceedings was Janette Manrara who worked well with continuity, interviewing the contestants and engaging in the banter with the star judges. For that role, there were three of the TV quartet in head judge Shirley Ballas, comic foil Anton Du Beke and pantomime villain Craig Revel Horwood (who also directed the tour). It was a formula which worked well and bridged the gaps between performances.
The couples were those who made the later stages of the 2022 series. Winner of that, botanist Hamza Yassin again paired with Jowita Przystat to defend that title. However, it has since been nice to find out that many of the others shined and won the glitterball on the nights during the tour. On my visit it was presenter Helen Skelton who due to her TV partner Gorka Marquez being unavailable to tour (What the hell else was he doing?) teamed with Kai Widdrington. At a disadvantage as the chemistry had to be built again with a new partner. Not a problem as the Helen & Kai combination not only won on my viewing, but overall, during the tour.
The other contestants were also magnificent entertainers and consisted of Fleur East and Vito Coppola, Will Mellor and Nancy Xu, Molly Rainford and Carlos Gu, Tyler West, and Dianne Buswell, then finally, Ellie Simmonds with Nikita Kuzmin. I must admit, coming from Walsall, I did root for Ellie but as I have said, had I voted, it would have been for personal and not performance reasons. And all were good anyway.
Also involved were other professional dancers from the series: Amy Dowden, Neil Jones, Robbie Kmetoni, Jake Leigh, Luba Mushtuk and Michelle Tsiakkas. Supporting well in song, we had Tommy Blaize, Andrea Grant, Tara McDonald, and Patrick Smyth, backed well by the band led by Allan Rogers.
So, how did a Strictly Ignoramus cope with an evening of dance? Well, to mimic a Craig Revel-Horwood comment, “I didn’t like it. I loved it, darling.”
Strictly Live is now over for 2023 but a tour of Strictly Come Dancing – The Professionals is not far away. On this showing, I would recommend it.
*** Catch up time, because I’ve fallen behind writing my reviews. Not convincing reasons, but in my defence, they do involve theatre and learning lines. ***
It’s hard to believe that there are people in this world who don’t like Mamma Mia. The cheek. It could be due to them not liking the Meryl Streep movie, or simply being an anti-ABBA snob. Possibly, most of these have never seen the stage musical because if they had, they’d have been part of a fun and enjoyable music extravaganza.
Mamma Mia is a light-hearted romp, well-written with excellent tunes which have stood the test of time for 50 years. Some period musicals date; this has not. As soon as you hear the first chords of the overture, goosebumps rise and two and half hours then goes far too quicky.
The show is, of course, a Jukebox Musical, with a sharp but easy on the mind script by Catherine Johnson with music coming from the ABBA writing duo of Benny Anderson and Bjorn Ulvaeus. And what you get musically is hit after hit after hit. Instantly recognisable songs that have the audience singing and clapping all the way to the end. Yes, I was guilty as charged, so shoot me. It’s a fantastic show.
In the role of Donna during this performance was Sarah Harlington who excelled in one of my favourites — Slipping Through My Fingers. Also at the top of their game was Jess Michelmore as the feisty but still vulnerable Sophie for which I Have a Dream was wonderful. Playing Donna’s comic foil friends were Sarah Earnshaw (Tanya) and Nicky Swift (Rosie). As well as their own numbers (Does Your Mother Know and Take a Chance on Me respectively), they completed a great trio with Harlington’s Donna for Chiquitita, Super Trouper and Dancing Queen.
Of course, Sophie has friends as well, plus a fiancé. Tanya Butterfield was Ali while Freya Humberstone played Lisa. Both combined well with Michelmore for the funny and light-hearted Honey Honey which sets the story for the rest of the show. As Sophie’s groom to be, we have Sky, portrayed well by Christopher Foley who duetted with her in Lay All Your Love on Me.
On stage as Sophie’s three potential dads (forgive me if you don’t know the plot; go watch the show) were Neal Craig (Harry), Phil Corbitt (Bill) and for the second time seeing his as Sam, Richard Standing. Completing the principal cast were Jaden Oshenye (Pepper), Archie Flynn (Eddie) and Andrew Bateup (Father Alexander). As was everyone else in the cast, these were out of this world making this a real show to remember.
Other great and personal favourite tunes included Money Money Money, Thank You for the Music, Gimme! Gimme! Gimme! (A Man After Midnight), Voulez-Vous and of course, Mamma Mia. I also love the feelgood I Do, I Do, I Do, I Do, I Do. And just when you think it’s all over after the bows, you get an encore with a full cast Dancing Queen and the one that made ABBA famous — Waterloo.
I can’t keep repeating enough, this is a fantastic show, directed by Phyllida Lloyd with choreography from Anthony Van Laast, plus musical supervision in the hands of Martin Koch.
Mamma Mia is still touring the UK for the early part of 2023. I can’t recommend it highly enough.
After seeing them several times now, nothing about Birmingham Youth Theatre (BYT)should surprise me, however, each time that I do, the excellence raises another level. And this was again the case with their January 2023 pantomime, Cinderella.
I’m not going to waste words on the plot; it’s Cinderella, for heaven’s sake. However, every version written is individual and this one by Joe Logan was top-drawer. As a writer myself, I praised Logan last year and once again we had a well-written (and extremely funny) script. Contemporary in style but keeping pantomime elements audiences have loved for years.
When recently reviewing Dick Whittington at the Birmingham Hippodrome, I spoke about the differences between professional pantomimes, boasting named stars, and the amateur equivalents. I can honestly say, although both excellent, I cannot separate which I enjoyed best, nor which was the more polished. Because from the opening company number in Cinderella, Get on Your Feet led by Lola Harper as Cinderella, quality oozed from the stage and into the auditorium. And it’s Harper in the title role I must praise first. What a voice! Strong and controlled, superb in Easy on Me and (Ed Sheeran’s) Perfect, duetting in the latter with the equally outstanding Luke Griffiths (Prince Charming).
One of the things I love about BYT is their inclusion and versatility. Last year Lily-Mae Nicholls was “wonderfully evil,” while Maddison Clarke took on the comic fairy role. This time roles reversed with Nicholls as (the not too competent) Fairy Non-Bio, whereas Clarke ranked high in the villainous stakes in the part of the Baroness. Clarke, on the day, gave a great rendition of Confident and Nicholls did likewise at the end of Act One in a superb version of You Will Be Found with Cinderella and the Dance Team.
People who read me will know I have modern views about the portrayal of Pantomime Dames and once again I am delighted with what I saw. Gone, thankfully, are the days where we would laugh at the ugly, hairy-chested man in a dress, now having more trans sympathetic portrayals. Caedon O’Malley (Stacey) and Rhys Bishop (Tracey) were as good as anyone I have seen in such roles. In fact, so well were their characterisations, I had accepted them as female from the off and forgotten the actors were men by Act Two. Juice was amazing and both O’Malley and Bishop in this performance engaged the audience like professionals.
Unless you mess around with the traditional plot (Yes … I did in 2021), Cinderella is full of unrequited love. This time, it wasn’t only Buttons, but Dandini as well. David Morrison was a wonderful Buttons, full of energy and like the dames, interacting well with the audience. There was confidence great to see from one so young and What Makes You Beautiful was as good as any number on the day. The unfortunate Dandini, on the other hand, was portrayed by Carter Evans who made the character his own and I Can Hear the Bells was one of the best songs in the show.
Once again playing a monarch was Dylan O’Connor as the bombastic King Bernard. He gave a good showing in the other Perfect, this time the Fairground Attraction one before duetting well in Act Two with Carter Evans during a poignant Let Him Go. Then we also had great comic foils in Bish, Bash and Bosh (Harrison Doherty, Charlie McRoberts and Andrew Morrison) trying to be a One Direction Tribute but singing a Backstreet Boys song in Everybody instead.
Another of my top numbers in the show was Hammer to Fall. Let’s face it, you can never have enough Queen. This was excellent from Lucie Holcroft (Fairy Nuff) and Charlie Bland (Mysterious Figure, revealed to be Baron Hardup). And if one can’t have enough Queen, there is always room for Abba as well and favourite of the night for me was Angel Eyes (Lola Harper, Caedon O’Malley, Rhys Bishop and Company).
Other named principals were the excellent Saran Sambhi (Principal Godmother), Kitty Smart and Amelia Jennings (Masters of Ceremonies with some witty one liners), Marni Carroll (OAP Princess, proving again how good she is at these comic cameos) and Josh Mills (The Troll with excellent timing). Duos inside the animals were Niamh Flannagan and Sophie Terry (Moo Moo) with Abigail Bell and Cat Allsop (White Horse).
As well as writing a brilliant script, Joe Logan was also choreographer and the results on view were well above what you would expect for a youth company. You must remember, all these kids are 19 and under. Ellie Johnstone and Olivia Jefferson were dance captains to the highly talented team of Beatrice Roberts, Bella Hoppner, Hannah Allsop, Ruby Blount, Tabitha Vlok and Tegan Lynch. I particularly liked their movement as the trees in the forest, finding it hypnotising at times.
Completing the ensemble (because nobody deserves leaving out) were Daisy Wright, Edina Bilham-Moore, Emily Green, George Beckett, Kamile Kazlauskaite, Luke Holcroft, Maisie Cotterill, Megan Allsop, Mia Hodges and Sophia Cupples.
The other members of a brilliant production team were Vivienne Morrison (Director) and Chris Corcoran (Musical Director). Morrison can be extremely proud of her work and students in making this a show to remember. There really isn’t a negative word to say about it. And Corcoran once again shows why he is highly rated in Musical Theatre.
July sees Birmingham Youth Theatre taking on Sister Act, again at The Crescent Theatre, which is to be their new home. One of the reasons for this, we are told, is the increase in membership, essential to any company. Praise, therefore, must go to those behind the scenes; the committee, the friends and parents who support and spread the word. The Crescent is a great theatre and BYT fully deserve it to be their new base of performing.
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.
The biggest surprise on seeing Beautiful is just how many Carole King songs you know. Sure, I’d heard of Tapestry, and It’s Too Late, You’ve Got a Friend and Beautiful itself, and I also knew she was one half of the iconic writing duo of Goffinand King. But what I didn’t count on was hearing classics from The Shirelle’s, The Drifter’s, Bobby Vee and Little Eva, then realising who wrote the songs in the first place. To be honest, as well as being an excellent show, it was an education.
From humble beginnings, King (with Goffin lyrics) wrote for the best. The show is based predominantly in the recording studios within an almost claustrophobic set which works well. There is also no intent on hiding rear and side stages with performers often seen moving with props and scenery. This too is effective as along with the enclosed studios, it gives the feel of a busy environment outside. Then, with all the music played onstage by the performers themselves, you really do feel you are in the studio as history was made.
Beautiful is a Jukebox Musical and that description is perfect because it is like hit after hit on the jukebox, with a story added for good measure. It Might as Well Rain Until September, Some Kind of Wonderful, Take Good Care of My Baby, Will You Love Me Tomorrow, The Locomotion, One Fine Day, and Chains (Made more famous by the Beatles). All of these were showcased in Beautiful.
Music aside, what Beautiful also offered was a well-written script from Douglas McGrath which moved at a good pace. Obviously, words and music to most songs came from King and Goffin, but there were also numbers from contemporary composers, Cynthia Weil and Barry Mann, who featured heavily as a side plot. And the education was there as well as I did not know much about them, but they also delivered fine songs, notably You’ve Lost That Lovin’ Feeling, We Gotta Get Out of This Place and On Broadway.
All the performers were outstanding, including Molly-Grace Cutler (Carole King), Tom Milner (Gerry Goffin), Seren Sandham-Davies (Cynthia Weil), Jos Slovick (Barry Mann), Claire Greenway (Genie), Sorrel Jordan (Betty) and Garry Robson (Donnie Kirsner).
The director for Beautiful was Nikolai Foster with Choreography by Leah Hill and Musical Direction from Sarah Travis.
After the breakup of King’s marriage to Gerry Goffin, she embarked on a new career as a performer in her own right and (as depicted in the show) the rest is history. Such an impact this show made on me, I immediately went out and ordered Tapestry (as I did not have it in my music library.
Beautiful is still currently touring the UK until the end of November. I recommend it highly.
*** Apologies for the lateness of this review. Covid came calling. ***
Young Frankenstein is a musical I have waited a long time to see, and if you’ve read my reviews in the past, you know I don’t care if it’s professional or amateur productions. Masqueraders Theatrical Company fall into the latter category, but there was nothing amateur about this offering.
Always a good indication of a great show is when your partner knows little about it, has reservations, but ends up buzzing at how good it was afterwards. This was the case and even me, who did have high expectations was not disappointed.
Young Frankensteinis based on the 1974 Mel Brooks’ film of the same name and adapted for theatre in 2007 by Brooks (Music and Lyrics) with assistance from Thomas Meehan on the book.
Dr. Frederick Frankenstein (played by Andy Ward) inherits his grandfather’s castle in Transylvania (complete with his ancestor’s deadly experiments). Despite initial reluctance, he soon sees he can succeed where his grandfather failed, to great comic effect. Ward was excellent as the crazed doctor, particularly in The Brain, a number typical of Mel Brooks’ complicated arrangements. It must be so hard for any MD to reproduce.
Supporting well was Chad Fletcher in the role of Igor who duetted well with Ward for the genius that is Together Again for the First Time. Then we had Naomi O’Borne as the very high-spirited Laboratory Assistant, Inga. Combining well with the aforementioned two, Roll in the Hay was superb.
And then we meet Frau Blucher (cue the terrified horse noises), played by Kim Liggins who was simply out of this world in the role. He Vas My Boyfriend is such a good song, but you need a character actor to pull it off and Liggins did just that.
But the principals just go on, and what a sign of a good show it is when you have so many characters of high-quality writing with performances to do them justice. Freja Brabazon shone as the pushy, insufferable, Elizabeth Benning (excellent in Deep Love and Please Don’t Touch Me) while Ashley Blackstock (Inspector Kemp) and Jenny Chappell (Blind Hermit) both supported well with He’s Loose and Please Send Me Somebody, respectively.
Now, every version of Frankenstein needs a monster but until Mel Brooks, none had ever tapped on stage to Puttin’ on the Ritz. It’s the highlight of the film and the same is the result here. You cannot help but laugh, as did the entire audience. Richard Yates was amazing as the creature; great expressions, especially in the scenes with the hermit.
Other numbers of the night from a wonderful ensemble included Transylvania Mania, Hang the Doctor and Hang Him ’til He’s Dead. This looked to be a good company, and everyone seemed to revel in their roles. No airs and graces, either; the cast were even selling programmes and raffle tickets beforehand.
The director for Young Frankenstein was Mike Chappell (assisted by Abbe Shields) with Musical Direction from David Adams and Choreography by Jenny Chappell.
A thoroughly enjoyable night and a brilliant show. Will definitely return to see Masqueraders in the future.
***Apologies for the lateness of this review. Covid came calling.***
Some films don’t transfer well to stage, and Shrek is one of them. Don’t get me wrong, it’s an okay, enjoyable romp, but not one of the best scripts with a mediocre score. And that was such a pity because Quarry Bank Musical Theatre Company are one of the best I have seen on my travels. But you can only work with what material you have and fortunately, QBMTC did pull off a storm of a show, bringing alive characters far beyond what the script expects to deliver.
Based on the 2001 film of the same name, Shrek the Musical follows the plot closely, with some added extras, most notably expanding on Lord Farquaad’s plot, excellently portrayed by Tom Robinson. But he wasn’t the only one to shine. Carl Cook in the lead role was as good as Mike Myers and likewise, Sarah Coussens excelled too as Princess Fiona. Completing the trio of heroes, one actor had the unenviable task of being an Eddie Murphey. Fortunately, Luey Pearce made Donkey his own and had me forgetting the Hollywood stars’ performance completely. Other principals were Natalie Baggott (Dragon), Gillian Homer (Gingerbread Man/Sugar Plum Fairy) and Isabella Cook (Pinocchio).
It is a credit to Quarry Bank and amateur theatre that the performances were that good, it put the West End in the shade. Sometimes with professionals, you get the feel of going through the motions yet here, professionalism came from the heart of those who do it for the love of theatre. And didn’t it show. Wonderful.
Shrek has a few excellent numbers: Morning Person, Build a Wall, Freak Flag and Story of My Life. Additionally, I loved What’s Up Duloc with the wonderful Duloc Performers. But my favourite number of the night was I Know It’s Today, where three Princess Fiona’s at different ages, tell of their wish to be rescued. Credit to Connie Davies and Katie Tranter who joined Sarah Coussens in this wonderful offering. However, there were a few songs which were fillers, not adding to the plot or moving it forward. Again, a fault of the original template.
And I hate to keep going back to the script, but it amazes me how fast things date. Only 20 years since the original film debuted, I now feel uncomfortable at the ridiculing of a person’s size with Lord Farquaad’s being used as a plot device for cheap laughs.
The team behind Shrek, making this an enjoyable night for all, was Zoe Russell with dual duties of Directing and Choreography, while Chris Handley was Musical Director.
Brierley Hill Civic Hall isn’t the best venue for Musical Theatre, echoing like a cavern at times but Quarry Bank raised the roof with exuberance and quality throughout. A wonderful showing from an excellent musical theatre company.
Somebody once said to me that there were betterQueen tribute bands out there than Queen & Adam Lambert. Now, I rarely do tribute acts, apart from when you can no longer see the real thing like Queen. So, how did Supreme Queen measure up to the dazzling legacy and did it beat the modern-day incarnation of the band?
Well, visually, it took time because obviously, they were not Queen, but the sound! With a voice so like Freddy Mercury, lead singer, Scott Maley immediately had me believing I was listening to the real thing. And that, I guess, is what you need with tributes. For tributes are what they are and to be successful you do need to believe. After a few songs, I forgot the physical differences and I experienced legends of rock.
Starting off with One Vision and Tie Your Mother Down, Supreme Queen treated a packed audience to hit after hit: Seven Seas of Rhye, Keep Yourself Alive, It’s a Kind of Magic and Under Pressure were among 25 instantly recognisable classics. I was also overjoyed to hear the fast (and, superior) version of We Will RockYou.
The set in the main modelled itself on the stadium tour songs of the mid-1980s. I guess when you have such an enormous catalogue, things must give way. Therefore, sparse on the early albums and nothing from the final three. A shame, but it’s probably what the fans want. And to be there, the audience most definitely were fans of Queen. Such energy and enthusiasm from Supreme Queen transferred onto those watching. And not just the oldies who formed the majority. It was also good to see younger members; teenagers with parents next to me and three children all under eleven in front with their family. It was clear all were brought up on the band, gloriously indoctrinated and now having the time of their lives. Brilliant. You see, we form many of our tastes based on those of others. I, myself, was into Queen aged 10, all because my elder sister had Queen albums in 1973 while my classmates went on to like The Bay City Rollers, .
The show divided into two sets, allowing audience and band time to recuperate and then we had more of the same: I Want to Break Free, Another One Bites the Dust, Radio Ga Ga and, of course, Bohemian Rhapsody. Mimicking Queen shows of old, Supreme Queen ended with We Will Rock You (single version) and We Are the Champions.
What we also had were two long drum and guitar solos. Now, I’m not a fan of Brian May and Roger Taylor’s musical masturbations, but they were mainstays of the original shows throughout Queen’s career, so I can see why they’re included.
Supporting Scott Maley’s Mercury was Luke Timmins (Brian May), Alan Wallbanks (John Deacon) and Allan Brown (Roger Taylor). In addition, we had Ben Marshall as the keyboard player Queen didn’t have but contributing the pieces Freddy Mercury would play. All were excellent. Let’s face it, to pull off being convincing Queens, you’ve got to be damn good at what you do, and Supreme Queen were that and more.
A thoroughly wonderful night. I will be back. Long live Queen.
Tom Bryce finds a USB stick on a train and brings it home to try and find its owner to return it. However, on viewing, he witnesses the murder of a young woman in an online snuff video. Tom is then threatened by the perpetrators to keep silent otherwise it will be bad for him, wife, Kellie and son, Max. However, Max fails to do so and Kellie is taken to be the next star performer.
I’m a huge fan of Peter James, although I only started reading him with the Roy Grace novels. I guess that makes Looking Good Dead the second book of James’ that I read many years ago. I’ve since read them all and am now going through the standalones’ back catalogue.
Looking Good Dead, like many stage productions, had a small cast so roles from the book were reassigned. In fact, Grace wasn’t the main character on this occasion, the Bryce family instead receiving the focus. However, it was nice for a fan to hear references to off-stage police persons like Norman Potting, Cleo Moray, EJ Bountwood and Alison Vosper, among others. It brought a bit more of the books to proceedings.
In the roles of Tom and Kellie Bryce we had Adam Woodyatt and Laurie Brett duplicating their Eastenders soap marriage and the chemistry between them was obvious. Woodyatt had been in Eastenders for 35 years until recently and although Tom was similar in character to Ian Beale, he was different enough to be a person in his own right. Both Woodyatt and Brett delivered strong, believable performances on the night and the same can be said for Luke-Ward Wilkinson as Max. There were some lovely scenes which portrayed the typical lack of communication between parent and offspring.
On the police side were Harry Long as Roy Grace with Leon Stewart in the role of Glenn Branson. Completing the trio of detectives was Gemma Stroyan as one of my favourite Grace characters – Bella Moy. However, I didn’t see any Maltesers on this occasion (You need to read the books to get that one). Supporting, also was Ian Houghton (Jonas Kent), Mylo McDonald (Mick) and Natalie Boakye (Janie).
Looking Good Dead looked good indeed with a main set of the Bryce’s living room with occasional illuminated cellar backdrop behind a gauze and pop-up police station. Transition between scenes were smooth and you did have the feel of everything being bigger than it was.
It was probably good that it has been 15 years since I read the novel as I couldn’t remember many details. I’m now intrigued to learn the differences but will wait for the ITV adaptation as this tale is next in line to air, then I may re-read the book. I’m pretty sure, though, the brains behind the kidnapping differed in the book.
Looking Good Dead was adapted for stage by Shaun McKenna and directed by Jonathan O’Boyle with Joshua Andrews as Producer.
Overall, an enjoyable evening and I look forward to further theatre outings for Roy Grace and Co.
