Tag Archive: West Midlands


Billy Elliot – Birmingham Hippodrome – 24 April 2017

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April 28, 2017

When deciding to review this show, I was dreading what I might have to write. You see, never have I attended a show with so much favourable feedback as in the case of Billy Elliot. My God, everybody loved it, giving rave reviews. But what if it was another dud for me? That certainly happened with the Commitments.

No such fears. From the opening segment with The Stars Look Down, I was drawn into the stage. And this was no mean feat as I wasn’t in the best position to appreciate the view and acoustics back in Row T of the stalls.

With a book and lyrics by Lee Hall, plus music from Elton John, the show is based on the 2000 film of the same name. Billy Elliot tells of a 12-year-old boy set against the backdrop of the 1984 miners’ strike. Rather than attending boxing lessons, Billy stumbles into a ballet class and finds he has a love of the dance.

Now the writer in me first looks to the script, and this one was epic. Clever, natural dialogue which slaps you in the face when you least expect. Best line of the show. “Susan Parks, you look like a spastic starfish.” Oh yes, how I love blatant political incorrectness. And the music and dance was … fantastic. This is a show which truly ticked all the boxes.

Of the musical numbers, Shine stood out immediately. Then we had the spectacular of Solidarity with Billy and the Ballet girls amidst the conflict between miners and police. One, however, which really entertained was Expressing Yourself with the dancing dresses. At the start to Act Two, I can’t emphasise how much I loved Merry Christmas, Maggie Thatcher. Thatcher masks, puppets, and finally, a giant ogress nemesis of the 1980s miners. And my favourite song lyric. “Oh, my darling, oh, my darling, oh, my darling Heseltine. You’re a tosser, and a wanker, and you’re just a Tory swine.” Sung by children. Brilliant.

On the dance front, we were treated to an amazing segment of Swan Lake in which Billy dances with his older self. Electricity was as it says in the name – electric. Towards the end, we had the poignant farewells as the miners return to work and Billy says his goodbyes. Many a tear in the house. Then the finale topped off a great evening of spectacular choreography, voice and performance.

On the night, Billy was played by Haydn May with Amy Rhiannon Worth as Mrs Wilkinson. Dad was Martin Walsh, Tony (Scott Garnham), Grandma (Andrea Miller), Mr Braithwaite (Daniel Page), Michael (Elliot Stiff) and Debbie (Lilly Cadwallender).

Billy Elliot was directed by Stephen Daldry with choreography, Peter Darling and musical supervision from Martin Koch . The producer was Sally Green.

So, everybody else loved it, and as much as I enjoy being the dissenting voice, I can’t on this occasion. Billy Elliot was out of this world.

 

Cheers.

 

Antony N Britt

 

 

 

Antony N Britt

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Fabulous at 50 – Prince of Wales Theatre, Cannock – 18 to 20 May 2017

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April 19, 2017

This May, Aldridge Musical Comedy Society (AMCS) make a welcome return to the Prince of Wales Theatre, Cannock for a magnificent celebration of fifty years as a society. The show is Fabulous at 50 and never has a title been so apt. Last year, AMCS put on two well-received productions of the highest standard in Thoroughly Modern Millie and Once Upon a Time. You can expect Fabulous at 50 to be no different.

Aldridge Musical Comedy Society (AMCS) Fabulous at 50 – Prince of Wales Theatre, Cannock – 18 to 20 May 2017

Great voices, breathtaking dance and good humour, Fabulous at 50 features numbers from Les Misérables, Oklahoma, All Shook Up, Oliver, Rent and many more. Direction for Fabulous at 50 is in the safe hands of Julie Lamb with choreography by Sarah Hemming and musical direction – Mark Bayliss. Julie, who is also chairperson of the society, spoke about the show, “I’m so proud to be celebrating the 50th anniversary of AMCS and feel very honoured to be directing such a talented group of people on this special occasion.”

Making a return to the stage is society president, Paula Garratt, who appeared in AMCS’ first ever production – Calamity Jane. “When I started with AMCS 50 years ago,” Paula said, “I never thought I would be lucky enough to join this great company on stage in celebration of those 50 years. I am very proud of everyone associated with the society.”

AMCS currently has a core of 30 members and are always on the lookout for more of all ages. Rehearsing in Aldridge every Wednesday, the society, in addition to two shows a year, also perform for charity functions and care homes.

Aldridge Musical Comedy Society (AMCS) Fabulous at 50 – Prince of Wales Theatre, Cannock – 18 to 20 May 2017 © Antony N Britt 2017

And the shows continue. With Smokey Joe’s Café (Nov 2017) and West Side Story (May 2018) already confirmed, the next fifty years is underway. But not until this current celebration is complete and from experience, AMCS guarantee the 50th anniversary show will be nothing less than Fabulous.

Fabulous at 50 is on 18 to 20 May 2017 (1930 start). Prince of Wales Theatre, Cannock.

Tickets available from AMCS (01543 480626) or Box Office (01543 578762).

Adults £12. Concession £10 and Under 16s £8.

Aldridge Musical Comedy Society (AMCS) Fabulous at 50 – Prince of Wales Theatre, Cannock – 18 to 20 May 2017

Cheers.

Antony N Britt

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Brendan Cole: All Night Long – Birmingham Symphony Hall – 24 March 2017

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April 14, 2017

I’ll admit it now. I know nothing about dance, as my society’s choreographer will testify. I can’t tell a Cha Cha from a Paso Doble. Therefore, you may wonder how I can comment on and review a dance show? Well, there must be others out there like me, so what’s in a show like this for the uneducated? The answer – plenty of entertainment.

Brendan Cole: All Night Long – Birmingham Symphony Hall – 24 March 2017

So, an evening with Strictly Come Dancing’s, Brendan Cole. We had a spectacular opening of a Samba to the song which titled the show – All Night Long. Then followed the Cha Cha with Love Potion Number 9. I was initially worried that being on a stage and not a dance floor, someone might fall off, which then promptly happened when Mr Cole slid at the end of a number and ended in the lap of a woman in the front row. Mind you, I don’t think she minded.

And it wasn’t just Brendan Cole. He was superbly supported by five dancers who went it alone in such routines like I Can’t Stand the Rain, of which the ladies costumes were, ahem, interesting. Certainly had the few men in the audience captivated.

And that’s another thing. About 90% of the audience were women, and of the males I could see, all were older than me. Now, being the youngest man at a gig isn’t something which happens to me a lot these days, but I didn’t feel left out. A Rumba (Fields of Gold), Quickstep (Nine to Five) and Jive (Tell Her About It). All captivated as did the spectacular Argentine Tango to Skyfall.

In between some routines were non-dance songs from singers and the band, the singers being, Iain Mackenzie and Julie Maguire. Musical arrangements were overseen by pianist, Barry Robinson. The cast of dancers for the tour were: Faye Huddleston, Crystal Main, Matt Harris, Craig Jones, Victoria Burke, Sallyrose Beardall and Michael Johnson.

But it wasn’t all about dancing. On the night, we heard tales of the Strictly show with many of the anecdotes referring to politician, Ed Balls, the surprise novelty hit of the previous series. Also, expected quips about fellow dancer and friend of Cole, Anton Du Beke.

So how did the show satisfy an ignoramus? Well, I loved it, and apart from worrying about the women’s dresses igniting during the Paso Doble, my entertainment lasted all night long.

Brendan Cole: All Night Long – Birmingham Symphony Hall – 24 March 2017

Cheers.

Nick

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The Commitments – The New Alexander Theatre, Birmingham – 15 March 2017

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March 27, 2017

I went into The Commitments blind. I’ve not seen the film, or read the book, so at least I could evaluate this show on its own merits. And, oh, how disappointed I was. However good the earlier incarnations are supposed to be, The Commitments does not translate well to stage.

The Commitments – The New Alexander Theatre, Birmingham – 15 March 2017

Straight from a lukewarm opener in Proud Mary which totally failed to make an impression, I was treated to a lacklustre Act One in which not a single number grabbed me. There was no flow or rhythm, and not only with the music. Too many characters diluted performances, giving no standout acting. Fast dialogue with little cohesion made the whole thing a mess. I like to be drawn into proceedings, feel as though I’m on stage and part of the wonderful theatre process. Not with The Commitments.

And Act Two was little better. After an hour of a first half which dragged, there were at least a few performances to make me sit up and take note now. But not many. (I Can’t Get No) Satisfaction was the first to make me really want to applaud, as was the case with Papa Was a Rolling Stone. These instances, however, were too few during the show.

I think the main issue was the flawed script which production had to work with. The book written by original author, Roddy Doyle, is poor with characters lacking anything which would make me want to warm to them. Basically, I didn’t care about any and even in the case of the unlikable, that’s criminal in writing, to have gained no empathy. Also, little use of choreography meant there weren’t any plus points to be salvaged in that department, either.

Only when we reached the encore/finale did the talents of those on stage have a chance to shine once free from the bindings of the awful script. However, Mustang Sally and best of the night – River Deep, Mountain High were too little, too late. Many of the audience were fed up by then and there was nothing to be salvaged. Even the premier number, Try a Little Tenderness, didn’t live up to expectations. Asked to get to their feet with hands in the air, roughly 30% of the audience obliged, when it should have been everybody.

Playing the part of Deco on this occasion was Ben Morris with Andrew Linnie (Jimmy), and former Coronation Street star, Kevin Kennedy as Jimmy’s Da. It was a shame for Kennedy to have such an underused and irrelevant role, his only purpose seeming to be to shout, “Turn that shite off,” every now and again. I wish they had turned it off.

Supporting were: John Curran (Billy/Dave), Padraig Dooney (Dean), Sam Fordham (Mickah), Christian James (Outspan), Alex McMorran (Joey the Lips), Peter Mooney (Derek), Amy Penston (Natalie), Leah Penston (Imelda), Christina Tedders (Bernie) and Rhys Whitfield (James).

The Commitments was directed and choreographed by Caroline Jay Ranger with musical direction – Alan Williams.

I did feel for the cast, as I’m sure on another day, their talents will shine. But not in The Commitments.

The Commitments – The New Alexander Theatre, Birmingham – 15 March 2017

Cheers.

Nick

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Thoroughly Modern Millie – New Alexander Theatre – 13 February 2017

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March 1, 2017

This show is personal to me because less than 12 months ago, I performed in Thoroughly Modern Millie with my own local theatre company. So how did the professionals measure up?

Well, the first thing to note was looking at the programme, I saw one of the Chinese duo was being played by someone from Hong Kong. Now having spent six months learning lines in Mandarin, I reckon that was cheating.

I jest. The show was great. Straight from the off we had vibrant energy and good fun.

Thoroughly Modern Millie – New Alexander Theatre – 13 February 2017

Playing the part of Millie Dillmount was Strictly Come Dancing’s, Joanne Clifton. What can I say? Well performed with good vocals and fantastic dance. Nothing, though, that I wouldn’t expect from one who had just partnered the winner in the recent series.

The other billed star was soap actress, Michelle Collins, who played the villainess, Mrs Meers. Now I do actually like Ms Collins, but I wasn’t particularly wowed on this occasion. There was a lack of character and not enough differentiation between the American accent (which wasn’t convincing to start with) and the fake Chinese. It seems a regular downside for me, seeing the big name stars not living up to the hype. She was still good, but not up there with others in the show, particularly Katherine Glover as Miss Dorothy,

There was excellent direction and choreography on the night, but I’d anticipated this when learning Racky Plews was at the helm. This is the third Plews outing for me in a year and all have been of a high standard. Amazing for me, also, was how good a sound was produced by only having a seven-piece band under the direction of Rob Wicks. Overseeing everything was Executive Producer, David King.

Also on stage for the tour are: Sam Barrett (Jimmy Smith), Jenny Fitzpatrick (Muzzy Van Hossmere), Damian Buhagiar (Ching Ho), Andy Yau (Bun Foo), Catherine Mort (Miss Flannery) and Graham MacDuff (Trevor Graydon III). The latter stole a good part of Act Two and it’s amazing how a drunk scene can do this.

It’s hard to pick a stand out number as I am so familiar with all of them. Therefore, I’ll simply say, Gimme Gimme, Speed Test, Forget About the Boy, and all the rest were top quality, too.

Couple of niggles. No Mamma appearance at the end, and Muqin could have been more OTT.

Still, a great night out, and plenty of goosebumps reliving my own experience of last May. So did the pros do it justice? Certainly, in my opinion.

 

Cheers.

 

Nick

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Cinderella – Dormiston Mill Theatre – 20 January 2017

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February 15, 2017

The pantomime is a great tradition and I’m always looking for companies I’ve not seen before. Therefore, when the two factors combine, I end up in places like the Dormiston Mill Theatre, Sedgley, watching Rainbow Pantomimes’ production of Cinderella.

Cinderella – Dormiston Mill Theatre – 20 January 2017

First off, a niggle at the audience. I watch loads of shows and people always forget to applaud the overture (and even more so, exit music). The band have worked damned hard, so give them appreciation, folks.

But the rest of the show. We all know the story of Cinderella, and Rainbow did the classic tale justice. Exuberant enjoyment from the cast projected to those watching, straight from the start with opening number, Reach for the Stars. Yes, good acting combined with decent dance numbers had the crowd whooping it up. There were comic moments, in particular, the Ugly Sisters’ Face Cream scene, although what had me laughing most was an innocent and incredulous comment from a child sitting in front when we had a delay in changing scenery. “Mom, they’ve left the door …” Oh, the little things that amuse me.

Fabulous musical numbers, notably: She, So Close, I See the Light, Open Doors, Raining Men and Celebrate. By far the best for me, though, was the full company version of Timewarp. Not a song I particularly like, so credit for making it stand out.

Of the cast, Katie Randle (Cinderella), Katie Teitge (Prince Charming) and Amy Cooper (Buttons) were superb. Also, well supporting were Jake Millington (Dandini), Helen Hollis (Beryl), Jonathan Pountney (Cheryl), Gemma Wilson-Brown (Baroness), Sally Parker (Fairy Godmother), Ian Totney (Mouse) and Dan Cubberley (Major Domo/Bear).

Cinderella was directed by Gemma Simner with Choreography by Emma Bate. On the music front, there was excellent use of a four-piece band directed by and including, Danny Teitge. Great sound throughout.

The only criticism I have is at times, the flow of certain scenes slowed. Too many pauses on stage with nothing happening. Although this may have been down to the original script, there was a danger of lost interest.

Still, as I say, I enjoyed, as did the rest of the audience. And my God, there were some hyper kids in the front of the auditorium. Was there a shortage of Ritalin or something?

All in all, well done to Rainbow Pantomimes. Looking forward to the next one.

Cinderella – Dormiston Mill Theatre – 20 January 2017

Cheers.

 

Nick

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Thoroughly Modern Millie – The Core Theatre, Solihull – 5 November 2016

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November 21, 2016

Over the past couple of years I’ve tasted a variety of musical theatre companies and looked forward to Throroughly Modern Millie at The Core Theatre, Solihull. I’d not seen anything by St Alphege Musical Productions Society (STAMPS) before, so didn’t know what to expect.

Thoroughly Modern Millie – The Core Theatre, Solihull – 5 November 2016

So how were they? A nice showing where Becky Willetts as Millie gave a good performance and both Miss Dorothy, played by Lucy Clarke and Trevor Graydon (Kris Evans) were excellent. Also, the character of Jimmy Smith played by Jack Walsh was likewise good, but I would expect nothing less from a former student of BOA.

Stand out songs for me were Speed Test and Falling in Love. We also had good choreography in most numbers, but nothing in Muquin which could have done with being sent up more. There were also lost opportunities for jokes. For instance, failing to capitalise on the George Gershwin, Rhapsody in Blue gag.

Also giving good performances on the night were Fran Foster (Muzzy Van Hossmere), Rosie Asher (Mrs Meers) and Kim Bradshaw (Miss Flannery).

Musical direction came from Phil Ypres-Smith with Viv Morrison as director and choreographer.

A decent enough offering after what must have been many months hard work.

Cheers.
Nick

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The Witches of Eastwick – Dormiston Mill Theatre. 3 November 2016

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November 15, 2016

The Witches of Eastwick was my first experience of Trinity Musical Theatre Company. In fact, it was everybody’s as the company had recently been reborn from being a Gilbert and Sullivan Operatic Society to reflect more modern trends. So how did they fare?

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Well, I saw Witches of Eastwick in February performed by Year 13 students of Birmingham Ormiston Academy. Now some might class that as a school performance, but such was the excellence of young talent that day, I knew Trinity would have a lot to live up to.

Now the first thing I encountered in the show were glaring lights from the stage in the overture, shining onto the audience and I must admit, I had spots in front of my eyes for five minutes. However, it was a minor negative and from the opening number of Eastwick Knows, superbly introduced by Freya Poulton as Little Girl, I was reminded why Witches is one of my favourite musicals.

Good performances by the three, particularly in Make Him Mine and I Wish I May were all I would expect of a Professional Amateur Theatre Company. Playing Alex was Maggie Page with Phaedra Brickwood as Jane and Beth Berwick Lowe (Sukie). Each produced the power the roles needed, fully exceeding my expectations.

Then we had Mitch Bastable as Darryl Van Horn. A truly great role and Mitch did it justice. Enigmatic, great mannerisms; he was so Darryl Van Horn.

Supporting well were Tina Stephenson playing Felicia Gabriel, Pat Lewis (Clyde), Emily Fisher (Jennifer), David Ball (Michael) and Adam Dolan (Fidel).

It’s interesting seeing different productions. In February, the best chorus number was Dirty Laundry, which although good on this occasion, was outshone by Dance with the Devil. It’s a shame Loose Ends was omitted as was the case with the shorter version of Something, but it didn’t detract from my enjoyment.

Again, comparing to my earlier experience of the show, this time I got the full adult version, doing things maybe Year 13 students couldn’t. All in all, a great experience once more which hasn’t lessened my hankering to see the show again.

Witches of Eastwick was produced and directed by Ashely-Miles Wilkes, choreographed by Emilie Walters with musical direction from Karl Babarczi.

After 8o years as a G&S Operatic Society, I’d say Trinity made the transition into musical theatre with success, and long may it continue where I am sure I will be in attendance.

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Cheers.

 

Nick

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Through the Decades – The Austin Social Club – 16 October 2016

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November 2, 2016

I was recently privileged to witness a journey through the years, courtesy of Bournville Musical Theatre Company. And Through the Decades was just that. A showcase of not only several eras in pop, rock and musical theatre, but also an example of how music has evolved during those times.

Through the Decades – The Austin Social Club – 16 October 2016

This was my first experience of the Bournville company and I was not disappointed.

From the opening rock and roll of the 1950s, I found myself captivated, tapping away and singing along (and not always silent, I may add) to the numbers performed on stage.

Good use of a three-piece band: Keyboard, drums and bass, provided all the sound needed. Combine that with great singing, dance and characterisation, you had a fabulous show before you.

Each section was introduced by a video consisting of films representing the relevant decade before launching into their opening number.

Of the songs, themselves, I’d have too long a list if I named all I enjoyed. Therefore, I’ll have to rely on the first which spring to memory.

A mix together of You’re my World and All I See is You were exceptional as was the case with the harmonies of Mr Sandman. For the 70s we had a Grease set of which Hopelessly Devoted to You, shone. Act One ended with a company number of Bohemian Rhapsody, and it shows you’re good if you pull that one off.

Into Act Two and a song from one of my favourite musicals in One Day More (Les Miserables). It was then I found myself further surprised. You see, I consider myself more a rock person. However, I was completely drawn in by fabulous performances of Total Eclipse of the Heart, She’s the One and Torn (one of my favourites of the night). Then we had Bournville’s very own Spice Girls. Now come on, I’ve said I’m into rock, and I’ve never taken any notice of the Spice Girls. But I liked these ones.

Probably, for me, the most powerful number was a combination of the Adele songs, Turning Tables and Rolling in the Deep. And that’s where I come back to what I said at the start. Whereas my eras are more late 70s to early 80s, it’s interesting to see how much music has evolved since the 1950s. Despite not being my type of music, there seems to be greater depth and complexity about more recent offerings. I guess we’re always discovering techniques that it’s inevitable a new generation will improve. And that’s a good thing. I enjoy the past, but don’t want to live it again.

Rounding off the show were two numbers from School of Rock. Great. A bit of rock. I’d not heard these songs before but having done so courtesy of Bournville Musical Theatre Company, I went online and ordered the original cast recording CD the next day. And I’ll probably be making a trip to the West End, too.

So well done to all, especially Rachel Fox (Producer), Chris Corcoran (Musical Direction), and Kris Evans, Helen Gauntlett, Karen Lane, Chloe Turner, Sadie Turner (Choreography).

At the start of Act One, we had a preview of the companies next show, The Pajama Game. On this performance, it will be well worth going to see.

Through the Decades – The Austin Social Club – 16 October 2016

Cheers

Nick

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Les Miserables – The Queen’s Theatre, London – 1 October 2016

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October 15, 2016

So how do I go about reviewing a show that’s run for thirty years? Well, most I write up are local to me, therefore, I thought I’d concentrate on the difference between these and the West End.

Les Miserables – The Queen’s Theatre, London – 1 October 2016 © Antony N Britt

How did they compare? Well, shows I’ve seen at Birmingham’s Hippodrome and Alexander Theatre, etc, have all been excellent. However, whether or not it was the occasion, or the fact I saw Les Miserables in its actual home, there seemed to be a little extra magic. Yes, I can say I lived the dream.

Les Miserables – The Queen’s Theatre, London – 1 October 2016 © Antony N Britt

The first thing to notice is the intenseness of the Queen’s Theatre auditorium. This helps somewhat to draw you into proceedings, making you feel every emotion as if you are part of the show. I’ve heard the soundtrack too many times to count so from the moment Look Down began, I was hooked.

A set changing like a 3D jigsaw included an impressive barricade, complimented by a revolving stage which heightened the motion before you.

As for the show itself, there were polished performances both on stage and from the orchestra. And I guess there may have been greater impact for my viewing than I’d have seen on a tour. Then again, they’ve had a few years to perfect this at The Queen’s.

By far the best number for me was Stars in which Jeremy Secomb as Javert was excellent. Also delivering a fine performance was Peter Lockyer as Valjean. However, my favourite has always been Eponine as I’m captured by the tragedy and hopelessness her character represents. On this occasion, Eva Noblezada did the part total justice. One My Own was powerful, although I was slightly disappointed with A Little Fall of Rain as I felt the musical arrangement lacked the feeling the song should have had. Other stand out numbers included One More Day, Lovely Ladies and Empty Chairs at Empty Tables, the latter of which had the poignant appearance of the dead behind Marius, this performance, played by Felix Mosse.

David Langham and Katy Secombe added comic relief at times as Thenardier and Madame T. Other cast included Sophie Reeves (Fantine), Zoe Doano (Cosette) and Chris Cowley (Enjolras).

The only down I’d put on the show are certain lines of dialogue. And it’s not really a criticism, more a niggle. There are far too many mentions of God’s will and generally being grateful to God for everything. Quite frankly, I don’t reckon the world’s number one imaginary friend cares much for his subjects portrayed on stage. But as I say, that’s just a personal observation from the atheist in the audience.

On the day, time flew and the cast received a well earned standing ovation at the end. And I have to say, I’m delighted to have been witness to a little magic.

Les Miserables – The Queen’s Theatre, London – 1 October 2016

Cheers.


Nick

 

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