Tag Archive: Theatre


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

I’ve begun many recent reviews with comments about how hard it’s been during the numerous lockdowns for Performing Arts, and now it is the time for Dance Schools to have their say. Almost two years to the day that everyone was ordered to close their doors, Keeling School of Dance took to the stage with the aptly named, The Show Must Go On.

Keeling School of Dance was established in 1934 by Beatrice Keeling at the age of 14, operating from her parents’ house before continuing in the area, finally moving to Aldridge in 1976. Sadly, Miss Keeling passed away in 2014, having taught until 2012. It is good, though, that the school has continued, run by former pupils: Jane Eardley, Sarah Beckett, Elaine Wigfield and Clare Cooksey. Classes begin from age 2 right up to advanced level and adult beginners. Also on the teaching staff is former pupil, Fran Eardley, who performed widely in the show including Point Solo (Arabian Dance) and Lyrical Solo (You Will Be Found). And it’s great to see the more experienced pupils moving forward. Grace Chambers (Jazz Solo {Show Me How You Burlesque}) and Niamh Reynolds (Contemporary Solo {Godmanchester Chinese Bridge}) now teach the younger pupils while Natasha Evans (Contemporary Solo {Showstoppa}) oversees Street.

I last attended a Keeling showcase in 2019 and the positive progression of pupils was staggering to see. Several who were tots, some whom I’d worked with in Theatre before that time, were displaying quality and polished skills. How quickly three years have flown, but so much hard work has obviously happened during that time.

On show were examples from all classes Keeling provide: Ballet, Tap, Theatre Craft, Gym, Street, Contemporary, Jazz, Lyrical and Broadway. Yes, the little ones pulled the heartstrings in their Olaf costumes during When I Get Older, but it was the overall enthusiasm and determination to get everything right during all the dances which was the overriding memory of an emotional and exhilarating afternoon. In addition to the solos already mentioned, there was also Sax, an excellent tap solo from Nadia Fallouh. I cannot name everyone, the same I won’t single out more dances as this would be an overly long review and to be frank, I’d have to list them all.

There were two awards presented on the day. The Cooper Cup for progress was won by the previously mentioned Grace Chambers while the Keeling Cup for enthusiasm, commitment and improvement went jointly to siblings, Lizzie Powell-Heyworth and James Powell-Heyworth.

Grace Chambers, winner of the Cooper Cup with mum, Elaine Wigfield.
James & Lizzie Powell-Heyworth with the Keeling Cup.

This show wasn’t a vanity project for parents to see how good their kids were in a chosen field of the arts, it was to engage with the wider world and show that dance is an important part of culture and should not be ignored. Covid restrictions hit the arts badly and to bounce back fighting is a credit to the staff and pupils of Keeling. The students of today are stars of tomorrow and there were plenty on view during this showing.

Cheers.

Antony N Britt

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

“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

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

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

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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