Tag Archive: Musical Theatre


If I became you, and you became me, and we became one another.

Identical — Nottingham Playhouse — 12 & 13 August 2022

It’s unusual to give my overall impression in the first paragraph of a review, but the fact I went to see Identical twice in two days will let you know how much I enjoyed this brand new, feelgood musical. 

George Stiles and Anthony Drewe are probably the best song-writing team currently in Musical Theatre and with a book by Stuart Paterson and direction in the hands of Trevor Nunn, Identical was always going to exceed expectations.

Identical is based on Erich Kastner’s 1949 novel, Lisa and Lottie which was more famously adapted into a treasured movie of mine and many other childhoods in Disney’s The Parent Trap. However, set in Munich and Vienna, Identical follows Kastner’s original plot closely.

Of course, unlike the Disney films with Hayley Mills (1961) and Lindsey Lohan (1998), to have actors in a dual role on stage is near impossible. That is why production auditioned over 100 sets of identical twins (now three years ago, before Covid occurred) resulting in the successful trio in this premiere run at Nottingham and Salford.

Identical — Nottingham Playhouse — 12 & 13 August 2022
Kyla and Nicole Fox – Friday August 12 2022.

Lisa and Lottie meet at summer camp (“She’s got your face!”) and realise they are twin sisters during the beautiful, tear-jerking You’re My Sister. Working out they were separated at birth, their parents taking one each, the girls swap places in an excellent number of punch the air proportions in If I Became You.

Once the girls return from camp, the changes are noticeable. Lottie has forgotten how to cook, gets in a fight at school, and becomes a terrible student, while Lisa will no longer eat her favourite food, becomes a model student and can now miraculously play the piano. However, no one suspects the girls are not who they claim to be, and the situation complicates when Father announces he is to marry a famous ballet dancer.

The first thing to notice is the wonderful set with video projections creating a magical stage, complete with rustling leaves, flying birds and later, moving cars in the city. So much credit, therefore, must go to Douglas O’Connell (Video Designer), Robert Jones (Set Design) and Johanna Town (Lighting). However, it is an all-round combination that makes Identical so good. Script, songs, musical direction (Caroline Humphries), choreography (Matt Cole) and especially the performances. And none more so than the leading twins.

I have already mentioned that me and my partner liked it so much, we returned for a second helping at the Saturday Matinee. Therefore, we saw two out of the three Lisas and Lotties: Friday was Kyla and Nicole Fox while Saturday saw the roles played by Eden and Emme Patrick. Not only could I not separate the twins on stage, but it was also likewise with their respective performances as both sets were excellent. Out of this world in every number. Obviously, I didn’t get to see the third (Savannah and Sienna Robinson) but having viewed a West End Live Performance on YouTube, I know they would have been of an equally high standard. 

Identical — Nottingham Playhouse — 12 & 13 August 2022 
Eden and Emme Patrick – Saturday 13 August 2022

But there were also top performances from the adults. Emily Tierney was magnificent as Lisalotte, especially during the title track, Identical while James Darch was equally so with Tierney during Fear Only Makes the Wolf Bigger and Safely Back Home with You.

Supporting well though were Louise Gold (Roza/Miss Muthesius) and Michael Smith-Stewart (Dr Strobl) who duetted in a lovely number, It’s Not for Me to Say. And there was David Bardsley (Franz) and Ellie Nunn (Miss Ulrike), the latter opening the show with In the Summer. A massive shout out, though, must go to Gabrielle Lewis-Dodson as Miss Gerlach. Her duet/argument with Lottie in What He Doesn’t Need was for me, the best number. And I kind of felt sorry for Miss Gerlach as unlike the films, her character isn’t as scheming, and she really doesn’t do an awful lot wrong. Still, a happy conclusion it will be and for that to happen, both parents must reunite, along with the sisters.

Identical — Nottingham Playhouse — 12 & 13 August 2022
Savannah and Sienna Robinson – The twins I didn’t get to see.

Identical is a wonderful show of magical proportions which not only appeals to audiences of today, but also captures the spirit of musicals of old. Next to me on one performance was a man twenty or so years my senior (and that does not happen often these days). He laughed and enjoyed as much as the kids who filled a good percentage of the auditorium. And it is those kids who are so important.

Theatre in the 21st Century needs shows like Identical, as well as similar in School of Rock and Matilda. Children will go along with families and enjoy them so much, they will come back. And there you have your musical theatre audience for the next generation.

As I have said, this was an all-round smash for me, as you can tell by the fact this review is double the length of my usual. Therefore, credit to all adult ensemble members: Rico Bakker, Hannah Cauchi, Paige Fenlon, Rosie Glossop, Dominic Adam Griffin, Jordan Isaac and Rutendo Mushonga. And the young cast: Parrine Long, Kirsten Muzvuru, Poppy Pawson and Helena Middleton who were on show for me with Winter Jarrett Glasspool, Daisy Jeffcoat, Saffia Layla and Isabelle Larrey at other performances. And well done to the Nottingham Ensemble of children, plus Louby as Pepi the Dog.

I really hope Identical becomes the hit it deserves as in my opinion, it’s up there with Mary Poppins and Annie in terms of magical family entertainment.

The show has now finished at Nottingham but moves to The Lowry in Salford. Friday 19 August to Saturday 3 September 2022. I cannot recommend it highly enough.

Identical — Nottingham Playhouse — 12 & 13 August 2022

Cheers.

Antony N Britt 

And another one bites the dust.

Well, at least another musical off the tick list. I’m a massive fan of Queen, and a musical theatre fan, but I’d never seen We Will Rock You until this showing. Okay, I was supposed to see it two years ago, then Covid came calling. Finally, though, I got to experience what it’s all about.

We Will Rock You — Birmingham Hippodrome — 11 July 2022

I have never witnessed a show like We Will Rock You before. Or rather, never been faced with two extremes. On one hand, the cast and band with their musical performances were outstanding. As good as anything I have ever seen or heard. Then on the other, you have the book by Ben Elton. I can honestly say, it is awful. I’d compare it to a low-grade GCSE project, but that would be unfair to the students. Little or no plot, terrible script, and contrived that many lines are only there as an excuse to wring out another Queen number. Many of the songs are irrelevant to the plot as well: Crazy Little Thing Called Love, Flash, The Show Must Go On and Fat Bottomed Girls. All fillers which do not move the (tenuous at best) story along. Not only that, many are not even great Queen songs. No One But You (Only the Good Die Young), These are the Days of Our Lives and Radio Ga Ga are average at best. Even the title number, We Will Rock You, is vastly inferior to the fast live version from Queen gigs of old. At least we got a cameo of that in the bows.

And then there were the characters as written. Little to them and only made good by the excellence of those in the roles. We are introduced to Meat and Brit, whose characters are built up to be major influences on developments, then both are discarded, having served their purpose.

The dialogue was filled with song puns, like “I’ll tell you what I want, what I really, really, want,” then “I can’t get no satisfaction,” and the comment that the truth is “Blowin’ in the wind.” One or two maybe, but when you’re on the 30th pun, you want to scream. And that was just Act One. Similarly, did we really need four Covid references? Less is good; no chance of overkill. But you didn’t need to kill Ben Elton’s script as it was dead already in an act of suicide by the writer.

We Will Rock You — Birmingham Hippodrome — 11 July 2022

But I still enjoyed the show. Well, mostly. This was because, as I have mentioned, the cast were phenomenal. I can’t give them enough praise. In the role of Galileo was Ian McIntosh who was out of this world. I Want to Break Free, in particular. Similarly, Elena Skye gave one of the best vocal performances I have ever seen. Let’s face it, unless you can deliver with power, sass, and stage presence, don’t even try to sing Somebody to Love. Skye was brilliant. Best number of the night.

Michael McKell played Cliff and he gave a good rendition of These Are the Days of Our Lives. Likewise, Martina Ciabatti Mennel (Meat) and Edward Leigh (Brit) were on top of their game, the former, excellent in No One But You (Only the Good Die Young) and together with I Want it All.

The villains of the piece were Jennifer O’Leary (Killer Queen) and Adam Strong (Khashoggi). Both were superb. O’Leary with Don’t Stop Me Now and Strong giving us Seven Seas of Rhye, plus together on A Kind of Magic.

And I must mention the band: Zachary Fils, Matt Herbert, James Barber, Simon Croft, Neil Murray, and  Dave Cottrell. All delivered a sound of pure rock genius and it was wonderful to see them invited into the bows and take front stage at the end.

So, a standing ovation for the performances, they were excellent. Shame about the script, though. It says it all when there are only seven named principals in a show and half of them only used when needed. Ben Elton — Could have done a whole lot better. Perhaps he was Under Pressure when he wrote this book.

What! Bad pun? Jeez, it must be catching.

Cheers.

We Will Rock You — Birmingham Hippodrome — 11 July 2022

Antony N Britt 

“Rama lama lama, ka dinga da dinga dong.” 

At least that’s what I think the lyrics are. I performed We Go Together in panto and I don’t think I ever got the words right. 

Grease—Highbury Theatre Sutton Coldfield —8 July 2022

At short notice, I went to see Grease (School Edition) by Script Youth Musical Theatre Company, and I was so glad I did. Always a supporter of local companies and youth theatre and from the moment the show began, I knew I was going to enjoy the evening.

I’m not going to go over the plot of Grease (Book, Music and Lyrics by Jim Jacobs and Warren Casey) and this was the first time I have seen a junior edition of any show. Shorter and more suitable for younger cast members, this edition keeps the fun and spirit of the original version. To be honest, I’ve only seen Grease once before and apart from the removal of the pregnancy plot and alternative version of Look at Me, I’m Sandra Dee, I didn’t notice many more differences. I’m sure there were but the fact I was so immersed in the show is a credit to a wonderful performance by all on stage.

In the role of Sandy was Erin Mooney who was superb in her headline number (and my favourite Grease song), Hopelessly Devoted to You. Likewise, Ollie Roberts as Danny channelled his best Travolta with Sandy, and both captured their roles perfectly.

Unless living on a deserted island for the last 50 years, everyone has heard of You’re the One That I Want, Summer Nights and Greased Lightening, but there are many more feelgood songs in this show. One not just for principals, but a large ensemble as well of which there was plenty of talent. Shakin’ at the High School Hop, Born to Hand Jive, Mooning and Freddy My Love are all good numbers and certainly had the audience full of applause after each.

Grease—Highbury Theatre Sutton Coldfield —8 July 2022

In addition to the main two, Grease is full of excellent supporting characters and to be successful you need the right people in the roles. Now when I watch a youth production, one person often registers with me more than others and on this occasion, it was Evie Rice as Rizzo. Yes, it’s an iconic role but you need excellence to fulfil its potential. Evie was in character right from the go, full of sass and attitude, facial expressions, and reactions consistent throughout. Evie tells in her programme biography that Rizzo is a “Strong character, so unlike herself,” which made the performance even more remarkable. And superb in There are Worse Things I Could Do. Well done.

Another great moment was Beauty School Dropout with Finlay Laidlaw doubling as Teen Angel alongside his T-Bird, Doody. It is one of my guilty pleasures, partaking in OTT performances and Finlay was on top of his game in this number; the audience showing its love and appreciation as deserved.

Grease is a great show by the fact there are plenty of principal roles in which to shine. Harry Robbins (Kenickie), Aimie Whillis (Frenchy), Josef Hammond (Sonny), Reanne Witheridge (Marty), Zachariah Scrivens (Roger) and Bethany Sall (Jan) all gave so much.

And there were a further 23 on stage in terms of excellent dancers and ensemble. Amature Theatre is for everyone with each as important as the lead. This is a nice company which showed enthusiasm throughout, the reaction to the deserved applause appreciated. Script Youth is also managed well. I felt welcomed on arrival and throughout the experience.

In charge of Production and Choreography was Louise Farmer who can be immensely proud of her cast and crew. Assisting, though, on Choreography was youth member, Molly Chamberlain, who also figured in a principal role as Patty the Cheerleader. Musical Direction was in safe hands with stalwart of Midlands Theatre, Chris Corcoran overseeing an excellent band.

A Lovely, enjoyable evening out and I look forward to more from Script Youth Musical Theatre Company. They prove youth and theatre do go together.

With a “Shoo-bop sha wadda wadda, yippity boom de boom.” 

Grease—Highbury Theatre Sutton Coldfield —8 July 2022

Cheers.

Antony N Britt

*** 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.  

Young Frankenstein—The Abbey Theatre, Nuneaton—Saturday 11 June 2022

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 Frankenstein is 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. 

Young Frankenstein—The Abbey Theatre, Nuneaton—Saturday 11 June 2022

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.  

Young Frankenstein—The Abbey Theatre, Nuneaton—Saturday 11 June 2022

Cheers.

Antony N Britt  

***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 

The Wedding Singer was never a classic movie in 1998, and the stage musical isn’t a classic either, but if you want harmless feelgood fun, this is a show for you. For what Wedding Singer lacks in depth of plot and music, it gives in escapism and nostalgia. But you still need to make the best of what you have and fortunately, Bournville Musical Theatre Company did just that.

The Wedding Singer – The Crescent Theatre, Birmingham – 21 May 2022

The show tells the story of Robbie Hart, played superbly by Stuart McDiarmid, who gets jilted at his own wedding and falls in love with waitress, Julia Sullivan (the excellent Chloe Turner). However, Julia is engaged to rich businessman, Glen (Liam Mc Nally) whose example in life Robbie tries to follow. That is until he realises happiness is better than being rich. A sound philosophy.

But a production is not just about the main roles (as original Robbie in the film, Adam Sandler, often seems to forget) You need a strong cast, plus good characters, and meaningful sub-plots. Thankfully, there were; one such stand-out performance being that of Lisa Colvin-Grieve in the role of Holly. Great character and best number of the show with Lewis Doley (Sammy) in Right in Front of Your Eyes. Doley was also excellent as one half of the comic duo of bandmates with Robbie Love as George.

There were also good showings from Jill Hughes (Robbie’s Gran, Rosie) and Sarah Frances McCarthy (Julia’s Mum, Angie). One more to note was new member to the company, Harriet Marsland, who was exceptionally strong in her number, Let Me Come Home.

As well as the rousing opening number, It’s Your Wedding Day, there were decent tunes in Someday, Somebody Kill Me, Saturday Night in the City, All About the Green and Grow Old With You.

The Wedding Singer – The Crescent Theatre, Birmingham – 21 May 2022

The show was directed by John Morrison with Rhian Clements and musical direction was in the safe hands of Chris Corcoran. Choreography was arranged superbly by Sadie Turner who also seemed to have made an unplanned excursion on stage, as she was in the programme stating, “She was looking forward to watching the show.”

First scheduled two years ago and like many, hit by Covid. The Wedding Singer also marked Bournville’s 100th Anniversary as a company. There will be a Centenary Concert at The Crescent Theatre, Birmingham on October 22 this year to celebrate this. An amazing feat to reach such a landmark. Here’s to the next 100 years.

The Wedding Singer – The Crescent Theatre, Birmingham – 21 May 2022

Cheers.

Antony N Britt

If there’s one musical everyone should see, it’s Les Misérables. And although it’s been running in London for many years between 1985 to the present, it’s always worth catching the tour. I do wonder, though, when Cameron Mackintosh took Schonberg and Boublil’s musical version of Victor Hugo’s novel of the same name, did he realized what a phenomenon he was about to unleash?

But a gigantic hit it was. Spectacular in all areas and you know at the end of Les Misérables, you’ve seen a show.

I caught the tour at the end of their stint in Milton Keynes. A decent theatre and probably the best view I’ve had of Les Mis. The plot is straightforward. Over a period of 17 years, Jean Valjean breaks parole, makes his fortune, constantly evades the unrelenting Inspector Javert, flees to Paris with the daughter of a woman he wronged, then gets caught up in the June Rebellion of 1832 amidst romance, turmoil and redemption.

In the role of Valjean, and with an incredible commanding voice was Dean Chisnall, playing alongside the superb Nic Greenshields (who I have seen twice in the role now) as Javert. The chemistry between the two was formidable.

Always good to have fresh talent so a pleasure it was to witness the professional debuts of Paige Blankson (Cosette) and Will Callan (Marius). I was extremely happy on the latter, having followed his journey during The Voice Kids in 2018 where he reached the final. A pity the online biography and program notes didn’t credit this.

Les Misérables – Milton Keynes Theatre – 20 May 2022

No performance of Les Misérables could be complete without the Thénardiers, this time perfectly portrayed by Ian Hughes and Helen Walsh. I never quite know if you should call them comic relief as they are so horrible, but I guess that’s good writing, to make people have a soft spot for something so vulgar. It is certainly ‘laugh out loud’ during Master of The House, particularly when the canary goes in the mincer.

Also giving strong performances were Rachelle Ann Go (Fantine), Nathania Ong (Eponine) and Samuel Wyn-Morris (Enjolras) among a cast of over 30.

The production on tour is directed by James Powell and Laurence Connor with musical supervision from Stephen Brooker and Graham Hurman. And there is still a way to go on this run, travelling the UK throughout the rest of the year and into early 2023. I’d advise you to catch it where you can.

Les Misérables – Milton Keynes Theatre – 20 May 2022

Cheers

Antony N Britt

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

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

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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