Tag Archive: Musical Theatre


Legally Blonde — The Crescent Theatre, Birmingham — 5 November 2022

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November 9, 2022

Omigod! Omigod, you guys. Looks like Elle’s gonna win the prize.

Well, you need to have been at The Crescent Theatre, Birmingham watching The Arcadians Musical Theatre Company’s production of Legally Blonde to find out if Elle Woods really did win that prize.

Legally Blonde — The Crescent Theatre, Birmingham — 5 November 2022

Legally Blonde is a 2007 musical with score and lyrics by Laurence O’Keefe and Neil Benjamin and a book from Heather Hach. The musical itself is based on the 2001 film of the same name and follows sorority girl, Elle Woods as she enrols in Harvard Law School to win back ex-boyfriend, Warner.

This show is now officially the one I have seen the most over four different productions, both amateur and professional and the first thing I saw was an absence of the usual pink sorority backdrops and law school sets. This did not matter. I am quite a fan of the stripped-back approach. Let’s face it, as a director, I’d rather the audience be watching the cast than the scenery and when the cast are as good as The Arcadians were on view, who needs scenery? The other noticeable thing was the use of backing tracks instead of a live band. Yeah, I could tell the difference, but many wouldn’t and even I settled into it. But don’t be too hard on companies who choose this road as in times of financial hardship, an orchestra to do Legally Blonde justice would cost a minimum £3-4K; probably more.

In the role of Elle was Bethany Neame and as well as great vocals, I was impressed with the overall acting, especially facial expressions and reactions. Bethany shone, particularly in solo numbers So Much Better and Legally Blonde (Slow Version). Playing opposite as Emmett Forrest was Jacob Standbridge and again, a superb performance, including the humour for Chip on Your Shoulder.

Now, I always have a fondness for the character of ditzy Paulette. It has so much scope for the actor and I’m happy to say Rebecca Eastwood was the best out of four Paulette’s I have seen to date, and that includes Rita Simons. I just love Ireland as a musical number and Eastwood nailed it in great style.

Legally Blonde — The Crescent Theatre, Birmingham — 5 November 2022

But Legally Blonde has baddies too where Cieran Nixon (Warner) and Rob Pushkin (Callaghan) excelled in that department during Serious and Blood in the Water, respectively. Supporting well in the principal line-up were Eleanor Hewer (Vivian), Adaze Crawford (Brooke Wyndham), Tom Cullen (Kyle) and Helen Rourke (Enid Hoops). Then, leading the Greek Chorus of Delta-Nu, we had Robyn MacPherson (Margot), Laura Peters (Pilar) and Ella Saunders (Serena) who due to an injury, was understudied in some scenes by Becky Murray.

This is such a feelgood show with a great script and so many memorable tunes. There! Right There! is always going to top my list due to its hilarity but What You Want, Positive, Whipped Into Shape and Legally Blonde (Full Chorus Version) come close. And not forgetting Bend and Snap. The auditorium of this marvellous theatre was full which is no surprise due to the popularity of the show. It just goes to prove having the right product in the right place with a great company is the secret to success.

In an earlier review for this show I was pulled up for not recognising the canine performers, so I make sure now not to repeat that mistake. On stage we had Willow (Bruiser), Archie (Rufus) and Mindy who is guide dog to Helen Rourke.

Legally Blonde was produced and directed by Nikki Genner with choreography from Adele David and vocal coaching courtesy of Jodi Matthews.

Arcadians appear an inclusive company, enjoying what they do. Congratulations are in order, and they fully deserved the standing ovation on the night of this performance.

Legally Blonde — The Crescent Theatre, Birmingham — 5 November 2022

Cheers.

Antony N Britt 

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Little Shop of Horrors — Prince of Wales Theatre Cannock — 4 November 2020 

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November 8, 2022

Look out, here comes Audrey Two. Look out, here I come for you.

Ominous words, summing up events witnessed in Brownhills Musical Theatre Company’s offering of Little Shop of Horrors. With music from Alan Menken and book and lyrics by Howard Ashman, this 1982 musical is loosely based on the 1962 film of the same name.

Little Shop of Horrors — Prince of Wales Theatre Cannock — 4 November 2020

Seymour Krelborn works in a failing flower shop for the cranky Mushnik while harbouring feelings for fellow assistant, Audrey. When Seymour discovers a strange and interesting plant, he puts it in the shop window which attracts customers, boosting sales in the shop. However, this alien plant feeds on blood, leading to Seymour supplying it with humans to protect his secret. Having only ever seen the 1986 musical film adaption, I was surprised about the different conclusion which I won’t spoil here but let’s say with the scenario just described, it’s never going to end well.

Little Shop of Horrors — Prince of Wales Theatre Cannock — 4 November 2020

Little Shop caters for a smaller cast than most shows with less opportunity for chorus, but Brownhills used these well when used. The set was impressive, giving the feel of the shop but the most spectacular was the Audrey Two models themselves with several to show the progression of growth.

Present throughout are the street urchins: Hattie Parry (Crystal), Sarah Taylor (Chiffon) and Charlottle Trigg (Ronnette) who were amazing. They supplied a running soundtrack which allowed scenes to flow. Also on stage for the duration was a wino (Brian Washington) who spent much of the time slumped in the rubbish but then used for good comic foil.

In the role of Seymour, we had Brett Dewsbury who showed a fine voice and good characterisation during Grow for Me before teaming superbly with Charlotte Foulkes (Audrey) in Suddenly Seymour. Foulkes was also excellent in Somewhere That’s Green, a lovely number and my favourite of the night.

Another brilliant song was the team-up of Dewsbury’s Seymour with Peter Brown (Mushnik) for Mushnik and Son. Brown captured the florist’s character perfectly as did Chris Parry with Orin Scrivello, particularly during Be a Dentist. Orin’s death scene was hysterical, inducing infectious laughing from the audience while the ill-fated dentist dies from inhaling nitrous oxide. But I can’t heap praise without Audrey Two itself. It must be surreal to be in a production as vocals only, but Katie Gibson gave stunning deliveries as the monster plant’s voice. But if I’m mentioning the audibles of Audrey Two, I can’t leave out Lauren Knowles’ skills as its puppeteer. This was a sharp professional production directed by Kelly Tye and Richard Tye with Alex Priestley overseeing a sympathetic orchestra as Musical Director.

Little Shop of Horrors — Prince of Wales Theatre Cannock — 4 November 2020

In a time of recession and financial hardship, it was still nice to see a near full auditorium which gave their appreciation with a standing ovation at the end of the show. Brownhills’ next offering is A Chorus Line, February 17 & 18 next year at the same venue. If it’s as good as Little Shop of Horrors, it will be well worth seeing.

Little Shop of Horrors — Prince of Wales Theatre Cannock — 4 November 2020

Cheers.

Antony N Britt 

  • Some photos blatantly stolen from BMTC’s Facebook Page.
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Strictly Ballroom — Birmingham Hippodrome — 31 October 2022

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November 6, 2022

Love is in the air, everywhere I look around.

That may be so, but wonderful dance is also on the stage in this musical version of Baz Luhrmann’s Strictly Ballroom. Based on the 1992 film of the same name, itself adapted from Luhrmann’s original play, Strictly Ballroom tells of the love affair both on and off the dancefloor between talented amateur, Scott Hastings and beginner, Fran. When Scott loses his dance partner due to him wanting to pursue his own style, Fran persuades him to take her on and compete in the Pan-Atlantic Grand Prix Dancing Championships.

Strictly Ballroom — Birmingham Hippodrome — 31 October 2022

With the popularity of the another Strictly (Strictly Come Dancing), this musical can be equally well-received. But for that you need a strong script, good music, and most important in a dance themed show, brilliance on the dancefloor. Thankfully, we had all of that. The book by Luhrmann himself and Craig Pearce is sound in character development and funny. But it was dance along with excellent vocals which had the audience wowed right until the end. Choreographed and directed by Strictly Come Dancing’s Craig Revel-Horwood with co-choreography from Jason Gilkinson, even dancing ignoramuses like me were impressed. Then, under the musical supervision of Stuart Morley, we had excellent vocals from all involved.

In the lead roles of Scott and Fran we had Kevin Clifton and Maisie Smith respectively. Both excelled in song and dance, as you would expect and were equally supported by Nikki Belsher (Shirley Hastings), Mark Sangster (Doug Hastings), Gary Davis (Barry Fife), Quinn Patrick (Les Kendall), Oliver Brookes (JJ Silvers), Jose Agudo (Rico) and Karen Mann (Abuela) among over 20 cast members.

Best number of the night for me was the Paso Doble at the end of Act One, full of energy and breath-taking excellence, however, Beautiful Surprise ran a close second with amazing vocals from Clifton and Smith. I also had fondness for the Barry Fife comic number, Dance to Win, performed by Davis. In among the original score with offerings from Sia and Eddie Perfect, were retro classics in the form of Tequila, Time After Time and during the finale, a rousing and feelgood, Love is in the Air.

Strictly Ballroom — Birmingham Hippodrome — 31 October 2022

The whole show was not only a spectacle of dance though. Mark Walters colourful costumes were equally sparkling as was the impressive (and rather surreal) wooden curved panelled set. Add some great lighting from Richard G. Jones and you had the icing on the cake. At the end, most in the auditorium were on their feet and it was great to see the band on stage too for a bow.

This production; I loved it. The only criticism is a minor plot device with the cliché of Fran only considered attractive once she’d changed from unfashionable clothes and removed her glasses.

Strictly Ballroom is touring the UK the rest of the year and into next summer. Even if you are not a fan of dance, do not let this put you off. This is a fabulous show, darling.

Cheers.

Antony N Britt

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The Osmonds, A New Musical — New Alexander Theatre, Birmingham — 25 October 2022 

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November 4, 2022

There’s a message floatin’ in the air. Crazy horses ridin’ everywhere.

This had to be one of the most surreal experiences in all my years of Musical Theatre audiences, witnessing Osmond Mania at The New Alexander Theatre, Birmingham.

The Osmonds, A New Musical — New Alexander Theatre, Birmingham — 25 October 2022 

The Osmonds Musical is the brainchild of Middle Osmond, Jay, and tells the story of 60 years in 2 hours 20. An impossible task, of course, but Jay Osmond has done a decent job of getting across what it was all about.

Now I’m not that knowledgeable about the band as although at school in the 1970s, I was male, and that made a difference. Sure, I saw the crowds on TV, plus the reactions on Top of the Pops, and read Look-In each week. What I do understand, though, it was like the mania surrounding the Beatles a decade earlier. And I saw a fair bit of mania in the theatre.

I’m won’t go over the plot, check Wikipedia for the history of the band. What I can say is even for the uneducated, the show delivered a good feel for events of the relative times. We had aspiring dreams, euphoria, success, and rebuilding when it all went wrong. What the show said, though, was that The Osmonds were a tight unit, and family was more important than anything.

And then there were the songs. 30 … Yes 30 massive numbers. Okay, some had edited treatment, but the big tunes were there. One Bad Apple, Love Me for a Reason, Down by the Lazy River, Yo-Yo, Crazy Horses, Double Lovin’, Goin’ Home, The Proud One, Hold Her Tight and One Way Ticket to Anywhere. All of these were top drawer as were the solo Osmonds with Puppy Love, Paper Roses and Long Haired Lover from Liverpool.

The Osmonds, A New Musical — New Alexander Theatre, Birmingham — 25 October 2022 

The band were Alex Lodge (Jay), Ryan Anderson (Merrill), Jamie Chatterton (Alan), Tristan Whincup (Donny), Danny Nattrass (Wayne) with Georgia Lennon as Marie. All were amazing in vocals, reproduction so good, you could not tell the difference between them and the real thing. Charlie Allen and Nicola Bryan also gave strong performances as parents, George and Olive Osmond.

Also featured heavily were the Osmonds as Children: Miles Redwood (Jay), Jayden Harris (Alan), Dexter Seaton (Merrill), Austin Redwood (Wayne), Herbie Byers (Donny) and Austin Riley (Jimmy) were all excellent where involved.

The Osmonds, A New Musical — New Alexander Theatre, Birmingham — 25 October 2022 

The book was by Julian Bigg and Shaun Kerrison (also directing) with added material from Bosse Anderson and Anders Albien. The only criticism was I found the Jay narratives broke the flow at times and didn’t add much, if I’m honest. Choreography was by Bill Deamer with musical direction from Will Joy.

I mentioned at the start about the mania and even though this was a Jukebox retelling, we had people passing out. In all my years I have only had a production halted once while I was on stage and never when in the audience. October 25, it happened twice, once in each Act, and with people on the same row but not connected to one another. Now I have a scientific theory which could be rubbish but it’s all I can come up with. The audience were mostly 60+ and back in the Osmonds heyday, these would have been the screaming teens of Osmond Mania. Maybe some kind of retro hysteria took them back in time and let’s face it, older bodies cannot cope as they might have in 1972. It’s just a thought and I hope the two unfortunates were okay. It was strange though.

Apart from that, a great night out and even if you weren’t much of a fan, this was a good show. The production is touring the UK the rest of 2022 with further dates to be added next year. Well worth a night out.

The Osmonds, A New Musical — New Alexander Theatre, Birmingham — 25 October 2022 

Cheers.

Antony N Britt 

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South Pacific — New Alexander Theatre — September 30 2022 

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October 28, 2022

There is nothin’ like a dame. Nothing in this world.

Well, there is … actually. Nothing like having women regarded as more than aesthetic creatures, which is a fault of the original script. But I can’t be too hard on Rodgers and Hammerstein and the sexism in South Pacific as it was ground-breaking on opening more than 70 years ago for another reason of equality. 

South Pacific tells the story of the US Navy stationed on a Pacific Island during World War II. The main plot focuses on the romance between an American nurse and a French plantation owner with the subplot of a US Marine’s flirtations with a Tonkinese girl. The topic of racial prejudice is included in both, way ahead of its time and thankfully, addressed.

South Pacific — New Alexander Theatre — September 30 2022

The term iconic is not one I use often but the fact that most of the numbers are instantly recognisable says how big this musical is. A Cockeyed Optimist, Some Enchanted Evening, There is Nothin’ Like a Dame, Bali Ha’i, I’m Gonna Wash That Man Right Outa My Hair, I’m in Love with a Wonderful Guy, Younger Than Springtime and not forgetting Happy Talk. That’s eight straight off that I knew before I saw it for the first time a few years ago. Admitted, the 70-year-old script and score is dated but this production induced a new freshness with a stark but simple backdrop of corrugated panelling. Here shadows were projected with basic scenery wheeled on and off when necessary. It worked. Good use was also made of a rotating stage, especially in numbers, giving two different perspectives.

South Pacific — New Alexander Theatre — September 30 2022

Julian Ovenden gave a superb performance as a somewhat younger Emile than I have seen in the past and was well matched with Gina Beck (Nellie Forbush), equally excellent, particularly in vocal numbers.

It was nice in this production to see the character of Bloody Mary less of a stereotype in grass skirts, but quirky instead with individuality. Superb by Joanna Ampil. Also strong was Rob Houchen in the role of Lt Cable with an equally stong voice as were all the principals. Then there was Luther Billis, played wonderfully by Douggie McMeekin, giving a huge helping of comic relief to the show.

Supporting well was Sera Maehara (Liat) who excelled in individual and company dance, plus David Birrell (Capt. Brackett) and Stephen John Davis (Cmdr. Harbison) who made an amusing double act at times.

In this production, choreography was by Ann Yee with musical direction from Jon Laird. The director was Daniel Evans.

One thing to note, particularly for amateur societies thinking of doing this show when available, the audience seemed mostly 70+. Even so, the auditorium was still full, showing there is life in South Pacific yet.

The show is still touring in the next few weeks at Edinburgh, Canterbury and Leeds. Well worth an evening out.

South Pacific — New Alexander Theatre — September 30 2022

Cheers.

Antony N Britt 

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Identical – Nottingham Playhouse – 12 & 13 August 2022

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August 16, 2022

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 

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We Will Rock You — Birmingham Hippodrome — 11 July 2022 

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July 13, 2022

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 

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Grease (School Edition)—Highbury Theatre Sutton Coldfield —8 July 2022 

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July 10, 2022

“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

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

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July 3, 2022

*** 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  

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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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