Tag Archive: West Midlands


As December Falls — O2 Institute2 Birmingham — October 14 2022 

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November 3, 2022

I only discovered As December Falls after the Happier Tour had finished last year so when they announced a return to the Institute2 in Birmingham, I was straight in the queue for tickets.

As December Falls — O2 Institute2 Birmingham — October 14 2022

An independent band, they really do everything themselves: Recording, merchandise, publicity and being on the road. So, sell out tours are a much-deserved result of this and it’s only a matter of time before being rewarded with the right deal to take the band further.

From Nottingham and founded in 2014, As December Falls have in the past cited Kanye West as one of their major influences. I must admit, this shocked me. How can a band liking something so dire be this bloody good? There is a freshness about them but most of all, hard rock with excellent, catchy tunes. In addition to early offerings, the band released a self-titled album in 2019 followed by the excellent Happier last year. Reading up, they have been likened to Paramore (Obvious comparison) and Fall Out Boy (Better than Fall Out Boy, in my opinion).

As December Falls — O2 Institute2 Birmingham — October 14 2022

Fronting is Bethany Curtis who engages well with the crowd while delivering powerful and distinctive vocals. On lead guitar, Ande Hunter displayed stunning chord progressions that Slash would be envious of while Timmy Francis (Bass) and Lukas James (Drums) contributed equally to make As December Falls the complete outfit. Some bands have weak areas; this one doesn’t.

The set at The Institute2 opened with 2022 release, Go Away followed by Afterglow from the most recent album. We also had the title track from the same in Happier, plus the outstanding Tears (My favourite). Other highlights of the first album included More to You and Ride. Both top drawer and there was even a cover of My Chemical Romance’s I’m Not Okay which brought the house down early on. Other numbers at the Institute2 were: I Feel Like Feeling Great, Break Your Heart, Nothing on You, Everything You Say, Mayday, You Say When and No Money, which featured audience interaction in which I was more than eager to take part. There was not a bad track during the entire set which could explain why this band have grown such an audience.

As December Falls — O2 Institute2 Birmingham — October 14 2022

At present there is a family feel to the fandom; this deserves to expand further. Therefore, when As December Falls are next in your area, get in without delay. Witness a giant in the making.

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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ELO Encounter—The Crescent Theatre Birmingham—16 September 2022 

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October 21, 2022

Sun is shinin’ in the sky. 
There ain’t a cloud in sight. 
It’s stopped rainin’,  everybody’s in the play 
and don’t you know 
it’s a beautiful new day,  hey! hey! 

Words familiar All Over the World, but the faces here are a little different. That’s because this band is a tribute; a tribute to the wonderful sound of Jeff Lynne and the Electric Light Orchestra. 

ELO Encounter—The Crescent Theatre Birmingham—16 September 2022

I have previously said that I only do tributes when the real thing is not around anymore, but although you can get Jeff Lynne’s ELO (at exorbitant prices) when he tours, the chance for a little Blue Sky at short notice was too good to pass up. 

Formed several years ago by the Lownes Brothers, The ELO Encounter give you just that. Not simply a performance of numbers, but encountering the original band with a loving feel as if this were them on stage. Straight into the opening of Standin’ in the Rain, I was transported back to 1978 and listening to side three of Out of the Blue on vinyl. Then came hit after hit: Sweet Talkin’ Woman, Turn to Stone, Shine a Little Love, Hold on Tight, Horace Wimp, Telephone Line, and many, many more. I was hooked, as were the rest of the audience in this wonderful experience of time-travel. We even had an appearance of one the earliest ELO hits in 10538 Overture … brilliant.

ELO Encounter—The Crescent Theatre Birmingham—16 September 2022

The band is led by Jack Rownes on keyboards and vocals, taking the Jeff Lynne role with a delivery so like the man himself, close your eyes and it’s real. Then you have younger brother, Harry Rownes on Bass, but also supporting vocals, as do the entire band. However, Harry has the added task of replicating the awesome (and too soon departed) voice of Kelly Groucutt, particularly on Rockaria! Lead guitars are provided by Martin Donald with Dacre Peck on drums. On Violin we had Jasmine Ali who also delivered lead vocals on Xanadu, one the best numbers of the night. Rounding off the band was newest member on acoustic guitars, Karl Younger.

The show was split into two sets ending with an encore of ELO’s biggest hit, Mr Blue Sky. By now, everyone was long on their feet and ELO Encounter departed to a massive flow of applause. It was nice to see some of the band in the foyer afterwards to thank the audience. A nice touch and familiarity which goes down well.

ELO Encounter are touring the UK throughout the remainder of 2022 and all next year. There are alternative tributes to ELO, but these have my recommendation. Look no further if you’re thinking of seeing one. 

ELO Encounter—The Crescent Theatre Birmingham—16 September 2022

Cheers.

Antony N Britt 

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Beautiful: The Carole King Musical — Birmingham Hippodrome — 30 August 2022 

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September 22, 2022

The biggest surprise on seeing Beautiful is just how many Carole King songs you know. Sure, I’d heard of Tapestry, and It’s Too Late, You’ve Got a Friend and Beautiful itself, and I also knew she was one half of the iconic writing duo of Goffin and King. But what I didn’t count on was hearing classics from The Shirelle’s, The Drifter’s, Bobby Vee and Little Eva, then realising who wrote the songs in the first place. To be honest, as well as being an excellent show, it was an education.

Beautiful: The Carole King Musical — Birmingham Hippodrome — 30 August 2022

From humble beginnings, King (with Goffin lyrics) wrote for the best. The show is based predominantly in the recording studios within an almost claustrophobic set which works well. There is also no intent on hiding rear and side stages with performers often seen moving with props and scenery. This too is effective as along with the enclosed studios, it gives the feel of a busy environment outside. Then, with all the music played onstage by the performers themselves, you really do feel you are in the studio as history was made.

Beautiful is a Jukebox Musical and that description is perfect because it is like hit after hit on the jukebox, with a story added for good measure. It Might as Well Rain Until September, Some Kind of Wonderful, Take Good Care of My Baby, Will You Love Me Tomorrow, The Locomotion, One Fine Day, and Chains (Made more famous by the Beatles). All of these were showcased in Beautiful.

Beautiful: The Carole King Musical — Birmingham Hippodrome — 30 August 2022

Music aside, what Beautiful also offered was a well-written script from Douglas McGrath which moved at a good pace. Obviously, words and music to most songs came from King and Goffin, but there were also numbers from contemporary composers, Cynthia Weil and Barry Mann, who featured heavily as a side plot. And the education was there as well as I did not know much about them, but they also delivered fine songs, notably You’ve Lost That Lovin’ Feeling, We Gotta Get Out of This Place and On Broadway.

All the performers were outstanding, including Molly-Grace Cutler (Carole King), Tom Milner (Gerry Goffin), Seren Sandham-Davies (Cynthia Weil), Jos Slovick (Barry Mann), Claire Greenway (Genie), Sorrel Jordan (Betty) and Garry Robson (Donnie Kirsner).

The director for Beautiful was Nikolai Foster with Choreography by Leah Hill and Musical Direction from Sarah Travis.

After the breakup of King’s marriage to Gerry Goffin, she embarked on a new career as a performer in her own right and (as depicted in the show) the rest is history. Such an impact this show made on me, I immediately went out and ordered Tapestry (as I did not have it in my music library.

Beautiful is still currently touring the UK until the end of November. I recommend it highly.

Beautiful: The Carole King Musical — Birmingham Hippodrome — 30 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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Billie Eilish—Utilita Areana Birmingham—15 June 2022 

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July 8, 2022

*** Apologies for the lateness of this review. Covid came calling. *** 

It’s hard to describe Billie Eilish’s musical style: Ethereal, gothic, pop, dark pop. I can’t label it, and I don’t think you should. If anything, the correct term would be unique.

Billie Eilish

I came across Billie in 2019 after hearing a recommendation from Dave Grohl, and who was I to question the judgement of a rock god. So, I purchased the Don’t Smile at Me EP (All but an album itself) and after an eager wait, the first full release; When We All Fall Asleep, Where Do We Go? And I secured tickets for her first arena tour. Brilliant. Then Covid came cancelling and a huge wait. Since then, a Bond theme (and an Oscar), plus a further album, Happier Than Ever, has established the still 20-year-old as one of the biggest acts on the planet so when tickets went on sale again for 2022, I was first in the queue.

The set was simple. Huge stage with just brother/song writing partner, Finneas O’Connell, plus drummer, Andrew Marshall present; it gave more focus to the star of the show. There were some backing track vocals, but this was always going to be the case as many of Eilish’s songs are double tracked and more. But the main force was live to profound effect.

Kicking off with an explosive entrance, we had Bury a Friend, followed by I Didn’t Change My Number and immediately, the audience were captive of the magic and energy Billie Eilish releases. Everyone lapped it up, including me. You could call it hypnotism at times. It was how I like to enjoy gigs, immersed and totally lost in the experience.

Billie Eilish—Utilita Areana Birmingham—15 June 2022 © Antony N Britt 2022

There are so many good numbers: You Should See Me in a Crown, My Strange Addiction, When the Party’s Over, NDA, Oxytocin, and not forgetting cameos of older hits like Bellyache and Ocean Eyes. A history of dancing injuries and sporting kinesiology tape, this didn’t stop Eilish giving a massive energetic performance which she seemed to enjoy as much as the audience. Billie Eilish is refreshing. There are no airs and graces, she is not full of herself, and clearly takes no shit, often concerned for people struggling in the crush of an audience.

Billie Eilish—Utilita Areana Birmingham—15 June 2022 © Antony N Britt 2022

My top numbers of the night were Getting Older, Bad Guy, and especially the finale of Happier Than Ever, a song which is my current favourite tune of the moment. And there were others that I found a love for which I hadn’t thought of before. In this case, Lost Cause, which I cannot stop singing now.

Billie Eilish—Utilita Areana Birmingham—15 June 2022 © Antony N Britt 2022

It’s easy to see why Eilish is so popular with both audiences and peers. There is an honesty and stripped-back approach to the music that makes it pure. And there is something in the lyrics which not only resonate with the young, but also oldies like me. It was also wonderful to relive the experience with an identical set broadcast on TV from Glastonbury a week later. I was still buzzing, and it took me back to that wonderful night.

One of the best gigs I have ever been to. Here’s to many more. 

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

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June 1, 2022

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

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The Show Must Go On – Great Wyrley Academy Theatre – 20 March 2022

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April 2, 2022

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, L P-H and J P-H.

Grace Chambers, winner of the Cooper Cup with mum, Elaine Wigfield.
J & L P-H 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

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