Tag Archive: Antony N Britt


Shrek—Brierley Hill Civic Hall—June 7 2022 

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July 2, 2022

***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. 

Shrek—Brierley Hill Civic Hall—June 7 2022

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—Brierley Hill Civic Hall—June 7 2022

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. 

Shrek—Brierley Hill Civic Hall—June 7 2022

Cheers.

Antony N Britt 

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Supreme Queen – Prince of Wales Theatre, Cannock – February 12, 2022

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March 15, 2022

Somebody once said to me that there were better Queen 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 Rock You.

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.

Cheers.

Antony N Britt

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Looking Good Dead – New Alexander Theatre – February 25, 2022

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March 12, 2022

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.

Cheers.

Antony N Britt

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The Stranglers – O2 Academy, Birmingham – February 19 2022

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March 1, 2022

First and foremost, I’m a Stranglers fan. So much so, in my 2015 novel, Dead Girl Stalking, my protagonist had a poster of them on his bedroom wall, and he defended the band from the derision of his girlfriend whose tastes were probably more R&B. I even acknowledged the band at the front of the book as having provided a running soundtrack while writing it. So if you ever do read Dead Girl Stalking, have a little Don’t Bring Harry or Baroque Bordello at the back of your mind.

My own love affair with The Stranglers began in 1977 with a BASF C-90 taped recording of Rattus Norvegicus. A multitude of albums and 21 gigs attended, that dalliance long ago became a full-blooded relationship. I have many favourite bands but if I’m honest, the one I could not live without are The Stranglers.

The last two years have affected everyone in varying ways, none more so than the Family in Black. The loss of Dave Greenfield in 2020 was that of a family member. A constant companion, friend, and lover, all through the years I have followed the band.

Yeah, I admit, when I first heard the news of Dave’s passing, I thought, “Well, that’s it.” I couldn’t see how the band could continue. Members, some of them huge, have departed over the years but along with the trademark bass of Jean-Jacques Burnel, Dave Greenfield’s keys are the sound of The Stranglers. So I was glad when the tour still took place in memory of Dave and ecstatic when the 18th studio album, Dark Matters, was posthumously released with Dave’s keyboards present. Within the opening minute of Water, I fell in love with Dave and The Stranglers all over again. But how would they be live without the great man on stage?

The answer was – superb. From the opening bars of Waltz in Black, I had that buzz I’d not felt for so long. Then the euphoria as the band took to the stage and launched into Toiler on the Sea. The Stranglers were back.

One massive change as Toby Hounsham had the unenviable task of taking the keyboards and was described by guitarist/vocalist Baz Warne as having massive balls to do so. Toby was brilliant, in fact, reproducing Greenfield’s arpeggios and sounding just as good as any other Stranglers gig I have attended. It was also nice to see Toby well received by the faithful, thankful, like myself, that the magic is not over. As JJ Burnel stated in the past, The Stranglers are a brand, not a band, so there is no reason they should ever end. I guess it’ll happen one day but aged 58 myself, I can be selfish and hope they don’t go just yet.

On the night we were treated to classic after classic: Something Better Change, Always the Sun, Strange Little Girl, Go Buddy Go, Golden Brown, Hanging Around, Sometimes and Skin Deep among many others. But we also had six new songs from the brilliant Dark Matters. Water, Last Men on the Moon and This Song, fans are already familiar with, having done the circuit on the last tours before Covid. But there was also a debut for White Stallion, which I believe will become a permanent fixture in future tours like Relentless has been since 2006.

It’s always good to witness The Stranglers gel. I’ve followed them from near the beginning but can honestly say in recent years they have never been better live. JJ and Baz come across as two who are on the same page. This also applies to the newer recruits. Jim Macauly on drums has been with the band several years now and even contributed to songs on Dark Matters. And along with Toby Hounsham, provided great backing vocals on several numbers, just as Mr. Greenfield did for many years.

The other two new songs were performed as a JJ/Baz duet during the first of two encores. The short acoustic, The Lines was excellent before a poignant and highly emotional version of And if You Should See Dave. Written as a tribute, there was many a watery eye during the line, “This is where your solo would go.” The empty keyboard lit to all round applause and cheers.

As the case is so often, The Stranglers finished with No More Heroes, always guaranteed to bring the house down. Thankfully, I do still have heroes and hopefully, mine will be here for some time yet.

Cheers.

Antony N Britt

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The Chinese Labour Corps – The Blue Orange Theatre Birmingham – February 4 2022

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February 12, 2022

“One of the least known stories of the First World War.”

That was the opening blurb of the advert, and I was intrigued. I’m no fan of the British Empire; its atrocities make modern day Isis and Al Qaeda look like beginners in the human rights stakes: The Boer concentration camps, the massacre at Amritsar, the famines in India during 1940 and the subsequent partitioning years later. All are now known but still little talked about. But who were the Chinese Labour Corps?

Towards the end of the First World War, the British Government needed a workforce to continue its campaign. Therefore, the Chinese government, wanting to establish itself as a world power offered its own labour to help the shortages. Over 100,000 men from the Northern Chinese Provinces travelled to Canada, then onto Europe to help in a war they knew little about. Most worked as unskilled labourers in appalling, dangerous conditions near shellfire and were terribly malnourished. At the end of the campaign, up to 20,000 had died and for a hundred years, mostly forgotten.

I am therefore indebted to the author of The Chinese Labour Corps, Walsall poet and playwright, Ian Henery, for illuminating me on a subject I now want to know more about. An excellent story (additionally adapted by Emma Cooper) where the audience went on an eye-opening journey of life one hundred years ago.

Although only a cast of four, the story moved seamless from one scene to the next and was almost immersive with a feeling of being a part of proceedings. Fully rounded characters who you believed in, felt empathy for, and got to know intimately.

The Chinese Labour Corps – The Blue Orange Theatre Birmingham – February 4 2022

Our cast were Nathaniel Tan (Sun Gan – a teacher), Amanda Maud (Chinn An Chu – a woman pretending to be a man to enlist), Tao Guo (Lin Cheng – who leaves his family to earn money) and Ali Taheri (Liu Den Chen – the loveable rogue who does his best to make money in other ways).

The stage movement, courtesy of Director, Marcus Fernando worked well, particularly the drowning of workers during the sinking of the Canadian ship. Poignant and emotive. And the knowledge that when Chinn An Chu returned home, her father had died, having spent none of the money she sent back to him. But there was also humour, especially the sending up of a British Sergeant. Then you had both humour and sadness mixed. The beautiful scene where Lin Cheng recovers in a Field Hospital and befriends a young English nurse, Miss Alice. They play music together, badly, before life is cut short amidst the jollity when Alice falls prey to the horrors of war when the area is bombarded by opposition fire. Notice I do not use the word, enemy fire. For me, especially in this war, there was no enemy, only different sides. It’s something we could all learn.

The Chinese Labour Corps – The Blue Orange Theatre Birmingham – February 4 2022

A highly entertaining and informative evening at The Blue Orange Theatre. Not only did I enjoy the production, I also learned something too.

Cheers.

Antony N Britt

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School of Rock – New Alexander Theatre, Birmingham – February 3 2022

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February 10, 2022

Failing guitarist, Dewey Finn, takes a job under false pretenses in an exclusive and expensive private school. He then teaches his class to play rock music and forms a band with them to win a prestigious competition.

Yes, I love rock, and I love musical theatre, therefore it is no surprise that I adore School of Rock. Closely based on the 2003 film of the same name, this is the best feelgood musical going these days. The notion that dreams come true, and you really can do anything if you try. It lifts the audience to their feet, and not just in the finale. With a cracking script from Julian Fellowes, lyrics courtesy of Glenn Slater and music by Andrew Lloyd Webber, you have the instant recipe for an outstanding show.

I first saw it in the West End but this UK tour for me was even better. Perhaps knowing the songs so well, I was singing and moving in my seat throughout. Also revelling in admiration for the kids who do play their own instruments. Such talent from all.

In the title role, and totally at home as the hapless Dewey Finn was Jake Sharp. Outstanding with the strongest of performances and excelling in all numbers. Alongside, playing school principal Rosalie Mullins was Rebecca Lock who delivered Where Did the Rock Go? and Queen of the Night in great fashion. Supporting well, though were James Bisp as the much put-upon Ned Schneebly with Amy Oxley portraying the domineering Patty.

And then there were the pupils of the School of Rock. What can I say? The twelve on show during this viewing were out of this world. Harry Churchill (Zack on Lead Guitar), Angus McDougal (Lawrence on Keys), Chloe Marler (Katie on Bass) and Eva McGrath (Freddy {Fredrica} on drums). I’ve only ever known Freddy as the male originally intended but Eva was brilliant as the student who struggled to achieve. I had great empathy for her.

Leading the vocal section was Angel Lucero as shy Tomika and she delivered a powerhouse of a performance in Teacher’s Pet supported well by Lily Rose Martin (Marcy) and Elisha Kerai (Shonelle).

As a huge fan of The Voice Kids, it was a surprise and joy to see 2019 finalist Keira Laver as school swot, Summer. And Keira was amazing leading the class during one of my favourite numbers, Time to Play. Completing the class of excellence were Riotafari Gardner (James – Security), Ava Masters (Sophie the roadie with the killer pigtails), Alex Shotton (Mason on Lights) and Logan Matthews (Billy the costume drama queen).

Credit is due to a fantastic production team including Laurence Connor (Director), Joann M. Hunter (Choreography) and Michael Riley (Musical Direction).

In addition to the songs already mentioned, there are others of top-drawer quality: When I Climb to the Top of Mount Rock, the beautiful If Only You Would Listen, You’re in the Band and the awesome Stick it to the Man.

I have favourites in musical theatre which change constantly. I can honestly say, though, leaving The New Alexander, I have never enjoyed myself in a theatre as much as I did on this occasion. Buzzing madly and still on a high days later. School of Rock is touring the UK until the end of summer and if you only go and see one musical in 2022, make it The School of Rock.

Cheers.

Antony N Britt

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Jack and the Beanstalk – The Old Rep Theatre Birmingham – January 13 2022

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January 16, 2022

First show of the year and what better way to start than a panto. Now I’m a huge fan of Birmingham Youth Theatre, especially after last summers’ brilliant Disco Inferno. Therefore, I had no hesitation in attending Jack and the Beanstalk at The Old Rep Theatre, Birmingham.

Yes, we all know the basic plot of Jack and the Beanstalk, so I won’t bore you with the details. However, each production needs an original take and Director, Joe Logan delivered that with his own script. As a writer of pantos myself, I admired magic moments on the night that I wish I’d thought of in mine. The character of Alexa was a touch of genius; the way she slipped into the Amazon Information Device when asked a question. And kudos to Ruby Blount for a superb performance, especially in the opening barrage of facts which must have been extremely hard to learn.

As our hero, Jack, Charlie Bland was in fine form and excelled equally with Blount, duetting in Human Nature. And in Jack’s sibling (Silly Billy), Megan Allsop equally delivered the laughs and performed well during Dance Monkey.

Of course, a panto needs a Dame (which I believe needs to be convincing as a female and played with respect). I’m happy to say Harrison Doherty did just that with a gorgeous but funny Dame Dolly. Likewise, there is room for a fairy and Maddison Clarke’s glorious Fairy Hiccup was a booze-fuelled character with unfortunate contractions of the diaphragm. It worked well. And portrayed equally as lackadaisical was Dylan O’Connor’s King Snoozy who teamed up with Dame Dolly for a wonderful Take a Chance on Me.

And we come to the baddies. As I say, I like pantos which differ from the norm and the Princess, who traditionally ends up with the hero, was this time the villain of the piece. Lily-Mae Nicholls was wonderfully evil as Princess Jill. A nice twist and Material Girl entertained the audience well. Alongside Jill in the evil stakes was Rhys Bishop as Baron Stuck Up Johnson, getting boos in the right places and leading an ensemble well with an extremely modified version of Heathers, Candy Store, renamed Behind the Door.

I’m not sure if you should call Tik (Josh Mills) and Tok (Lola Harper) villains, more tools of the Baron and Princess. These two were excellent comic stooges and performed a great slapstick routine in the kitchen. It was a result of these shenanigans that we had one of the moments of the night with the Sausage Roll Medley. Hilarious, although verging on a heinous crime to rock fans with I Love Rock and Roll Sausage Rolls, We Built This City on Rock and Roll Sausage Rolls and Don’t Stop Believing – “Just a sausage roll.” Awesome. And we even had a cameo voiceover from Birmingham Hippodrome panto legend and Youth Theatre patron, Matt Slack as the voice of the giant.

My favourite principal character, however (and getting a huge round of applause in the bows), was Goldie Harper, a singing, out of tune harp, played by one of the youngest talents in Marni Carroll. She had the audience howling with off-key renditions including Lonely, Let it Go and 5000 Green Bottles.

Other numbers of note, overseen by Musical Director, Chris Corcoran, included We Got the Beat, Can’t Stop the Feeling, the haunting Into the Unknown and a humorous costumed performance of Talk to the Animals.

Writer, Joe Logan, also directed and oversaw choreography including an excellent dance troupe consisting of Bethany Gilbert, Olivia Jefferson, Anna Simpson, Ellie Cosgrove, Beatrice Roberts, Emily Denigan, Carter Evans and Luke Griffiths. Assisting Logan in direction was Emily Ewins and you get the feeling of a team effort with the cheers and elation behind the curtain at the end, the results of those endeavours.

Heck, I’ve overrun. By at least 100 words. But that’s what Birmingham Youth Theatre do to you. Give you lots to rave about. And they’re back at The Old Rep Theatre (June 30 to July 2 2022) with High School Musical. I cannot recommend them enough.

Cheers.

Antony N Britt

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Robin Hood and his Band of Merry Men – Studley Sports and Social Club – December 19 2021

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January 7, 2022

Due to a ridiculous schedule with my own production and other commitments these past few months, I’m way behind on publishing reviews, so sorry about that.

*****

It was a last-minute decision to see Robin Hood and his Band of Merry Men, but I’m glad I did. Set in an intimate venue with about 50 in attendance, you were right amongst the action. I often say rather than watch a performance, I like to experience and be part of one, and Robin Hood certainly did that for me.

As well as being in a small venue, Robin Hood only had a cast of six, but such was the quality of the script by Oliver Hume, it made no difference to the enjoyment. Full of jokes, new and old (You have to have them in panto), the script also paid homage to classic sketches of the past, my favourite being, the vessel with the pestle/chalice with the palace routine made famous by Danny Kaye in 1955’s The Court Jester.

Robin Hood was courtesy of Aunty Jen Productions, whose founder, Jennifer Rigby, also played Lidl Jen. The butt of the jokes, Jen’s character was a typical Audiences’ Best Friend and held the show solo on occasions. A job well done.

Playing Robin and Marian we had Annaliese Morgan and Nicolette Morgan, respectively. Both had great singing voices, excellent stage presence, and had those watching warm to them throughout.

There is nothing like a dame, and Mark Jeffries was superb as Nurse Juicy Lucy, having the audience eat out of her hand, and eating any participant for breakfast, if they dared to have a go back. I have views on pantomime dames and loved how Jeffries played Lucy with respect. Some actors use the Dame for cheap laughs at the man in a dress, but Lucy was gorgeous, darling. The character was who you saw on stage.

The baddie in The Sheriff of Nottingham was bad indeed, and I mean that as a huge compliment. Neville Cann had the darkness of villainy, mixed with essential comic moments at the right times. Plus, a wonderful, sinister laugh.

Rounding off our six was wandering minstrel, Alan-a-Dale, performed superbly by Danny Teitge. Opening a show is a huge responsibility and Danny rose to this task, nailing it while setting the scene for more to come. And what a voice!

The sign of a good production is how quick time flies, and Robin Hood flew like an arrow. A thoroughly enjoyable evening from a company whose future productions I highly recommend. Therefore, when at two hours’ notice you have a thought to check if there is anything on that is local, you may find a gem like Aunty Jen.

Cheers.

Antony N Britt

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Legally Blonde – Prince of Wales Theatre, Cannock – November 6 2021

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January 6, 2022

Due to a ridiculous schedule with my own production and other commitments these past few months, I’m way behind on publishing reviews, so sorry about that.

*****

Legally Blonde is one of the best musicals to appear in the 21st Century, popular with audiences and critics alike. However, it needs to be done well and fortunately for the people of Cannock, Brownhills Musical Theatre Company did exactly that.

This is a show I have seen a lot but also the smallest venue/stage I’ve witnessed it performed. I’m glad to say, nothing was lost. Much of that was due to the size of the cast. Many amateur societies struggle for members, so it was refreshing to see around forty on stage. The difference this makes to company numbers cannot be ignored. A huge wall of sound combined with great expression and interaction from all.

Legally Blonde tells the tale of Elle Woods (played superbly by Phillippa Mills) who goes to Harvard to pursue love, but instead finds herself, fresh love, and a new direction. It’s a great script by Heather Hack, alongside fantastic music and lyrics from Laurence O’Keefe and Neil Benjamin. And one of the main plusses is that Legally Blonde is filled with strong characters. In these, Adam Gregory excelled as Emmett while Charlotte Simcox shone in the role of Paulette. Her main number, Ireland, is such a good (tongue in cheek) number and always raises a laugh, as it did on this occasion.

Then we had the villain of the piece in Professor Callaghan with Chris Parry delivering a top-drawer performance in stage presence and during Blood on the Water. Also starring was Adam Merrall as Warner who cruelly dumps Elle at the beginning of the show during Serious. Then we had Stacey Ward (Vivienne), Charlottle Trigg (Brooke Wyndham) and Emma Wyatt (Enid Hoops). Supporting too, were Hattie Parry (Pilar), Louise Hewitt (Serena) and Claire Goodwin (Margot) – The Greek Chorus of Delta Nu. As I have said, it was a large cast, so I can’t name everyone. However, as I was needled the last time I reviewed this show for ignoring the dogs, on this occasion they were Humphrey and Stan. They behaved well.

Legally Blonde has terrific numbers: Positive, So Much Better, What You Want, Bend and Snap and the title song, Legally Blonde (of which there are two equally good versions). However, my favourite is still the glorious There! Right There!

All shows need a good production team and Legally Blonde had theirs with Kelly Tye and Richard Tye (Directors), Alex Priestly (Musical Director) and Alex Woolliscroft (Choreography).

The last couple of years have been hard on theatre and local amateur companies. It was, therefore, a joy to see the audience appreciate the challenging work of cast and crew and display as much enjoyment as those on stage.

Theatre is back.

Cheers.

Antony N Britt

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Heathers – UK Tour 2021 (New Alexander Theatre, Birmingham – September 24 2021)

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January 5, 2022

Due to a ridiculous schedule with my own production and other commitments these past few months, I’m way behind on publishing reviews, so sorry about that.

*****

I admit from past experiences I’m not a fan of Bill Kenwright Productions, so I approached Heathers with a tinge of worry amid the excitement. You see, I had not seen the show before, yet was familiar with the music due to both Off Broadway and West End Original Cast Recordings. I also had good memories of the 1988 Daniel Waters film of the same name which (incidentally) this musical follows closely.

Heathers tells of Veronica Sawyer, an unfashionable High School student, desperate to belong to the major clique, all named Heather. After initial success, Veronica falls foul of leader, Heather Chandler and turns to new student and bad boy, Jason Dean (JD). What follows is a tale of murder, revenge and suicide. But however dark the themes may sound, there is a glorious wealth of humour throughout.

What makes Heathers work is an excellent book with a top-drawer selection of songs from Kevin Murphey and Laurence O’Keefe. All are memorable; not a weak tune among them. Still, to bring such a good template to life, you need the cast, and all on show were amazing.

I must say, I loved every bit of Rebecca Wickes’ performance; be it song or character; her mannerisms were so believable. She was outstanding as anti-heroine, Veronica, with numbers: Beautiful, Dead Girl Walking and I Say No, out of this world. Equally so was Simon Gordon in the role of JD who duetted exceptionally with Wickes in Seventeen and Our Love is God, as well as his own Freeze Your Brain.

“And then there’s the Heathers. They float above it all.”

On my viewing, the Heathers were Daisy Twells (Chandler), Merryl Ansah (Duke) and Lizzy Parker (McNamara). These three absolutely smashed it as the terrible trio, especially during the popular Candy Store. Individually and respectively, The Me Inside of Me, Never Shut Up Again and Lifeboat again exceeded expectations.

Supporting, we had Liam Doyle (Kurt) and Rory Phelan (Ram) as the expertly portrayed dense High School Jocks, lured to their deaths by JD. Also on show were Bailey Hart (Ms Fleming) singing Shine a Light, Mhairi Angus (Martha) with Kindergarten Boyfriend, plus Andy Brady and Kurt Kansley as Ram and Kurt’s fathers.

This tour production was directed by Andy Frickman with choreography from Gary Lloyd. Musical direction was in the hands of Gary Hickerson.

Heathers is a brilliant show, a real rollercoaster ride which flows at an amazing speed without a dull moment in sight. The tour has now ended but I urge you to check it out either back in the West End or the next available tour. This time, Bill Kenwright Productions left me satisfied and wanting more.

Cheers.

Antony N Britt

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