Antony N Britt (calls himself Nick, to be awkward) is the author of horror novels: Finding Jessica and Dead Girl Stalking, plus, short story collection: Ghost Stories. All page-turning tale that slaps you in the face when you least expect it. He lives in Walsall in a house full of CDs, videos, books and many unread pieces of paper which may hold the secret to eternal life, but are most probably pizza menus.
Finding Jessica
Finding Jessica
Jessica, Jessica, who were you? And what brought you to that bar last night?
Rob Devlin. Former TV investigative reporter, former alcoholic, formerly alive. The experience in an afterlife of near-death ends when Rob’s soul returns to the body. The wrong body.
Jessica Davies was the stranger Rob died trying to save; the reward is to live her life. But was it more than chance they met? Rob needs answers and unable to resume his old life, one option remains. She must become Jessica. First, Rob needs to know who Jessica was and in order to put things right, Rob must set about finding Jessica.
From the author of Dead Girl Stalking and Ghost Stories: Tales From The Dead of Night.
Every now and then you go to see a band you like and come across a gem that you have never heard of before. This was the case at The Halls in Wolverhampton when I turned up to watch Garbage.
Lucia and the Best Boys hail from Glasgow and have been around about 8 years, so we were told, and released their debut album, (BurningCastles) last year. I am led to believe this new material was a departure from earlier guitar shredding tunes with grunge influences. Now, the more elemental electro pop music draws from experiences growing up, mixing with empowerment and a blast of Scottish heritage. The result is a hypnotic sound unleashing the forces of nature with an air of mysticism and magic to enchanting indie-rock. More importantly, they deliver excellent songs in both music and lyrics.
Launching their small support set with When You Dress Up, the appropriately titled Haunt You Back followed before my favourite song of the night in Angels Cry Too. All three came from the Burning Castles album before a new song in Picking Petals. This, as with the album songs, plus, So Sweet I Could Die which followed was written in the far north of Scotland on the Isle of Lewis, in a little croft which seems to have inspired the new sounds. This information was relayed by lead singer, Lucia Fairfull who also told as to how they came to be supporting Garbage. This was a combination of fandom, mutual respect and admiration, plus a fair amount of social media networking. And I am so glad of this because otherwise I would never have discovered this wonderful band.
Joining Fairfull on stage were Ally Scott, Christopher Ballantyne and Adam Campbell. Lucia and the Best Boys ended their set with Forever Forget and Perfectly Untrue to massive applause from those who had initially come only to see Garbage. However, like myself (who has already bought the back catalogue), these new admirers will join the fan club and continue to follow their progress.
I only saw The Addams Family a few weeks ago and although that production itself was quality, I knew that I would be equally entertained and enthralled by Starcross Theatre Company’s offering.
I think I can honestly say out of the half dozen youth companies that I review and follow, I really don’t have a particular favourite standing above the others because there is outstanding quality in all. And that’s a good thing for theatre. But each have their own individual elements making the occasions special and Starcross’ standards could not get any higher, already being at the top of their game.
The Addams Family is based on the characters of the 1960’s American sitcom and subsequent movies/series. Synopsis briefly. Daughter, Wednesday falls in love, wants to get married with a normal boy and two worlds collide. It’s a basic plot by Marshall Brickman and Rick Elice with good music from Andrew Lippa, but one which serves a purpose with a few short sketch-type segments thrown in.
As was the case in their previous shows, Starcross split their cast so that, in this case, twenty of them get a shot at the ten principal roles. This is good for development, experience, and inclusivity and although I only saw one of the two versions, I am certain the other would have been equally as outstanding.
On my viewing I had the amazing Brandon Harrison as Gomez, commanding the stage with great presence and excellent vocals. Brandon totally captured the spirit of Gomez, and it is a shame, due now to age and pursuing a theatrical career, that this was his last show with Starcross. Equally so was the always amazing Christine Cross as Morticia and the chemistry between her and Brandon will be hard to replace. The choreography and performance during Tango De Amor was incredible. Christine has now joined her parents on the production side and is described by them as taking on the mantle.
Playing a fantastic Wednesday Addams was Holly Hunter who totally nailed Pulled while Jack Harley was tremendous with the comic relief offered by Fester, particularly during The Moon and Me. Grandma (who may or not actually be a relative) was Lauren Downes while Lurch was portrayed by Cole Bennett. Both were exceptional in their roles. Lucas was Callum Brothwood, Mal (Tia Rafferty) and Alice (Lily-Grace Palmer). Got to commend Lily-Grace on the execution of the total breakdown of inhibitions at the end of Act One.
Now, I have saved Pugsley for last as although I don’t normally hark back to personal connections, I feel I must in the case of Alfie Jennings. In 2021, aged 8, Alfie took part along with sister Lexie (also in this show) in their debut stage roles during my production of Cinderella, and I have followed their progress ever since. I knew then both were something special and it is no surprise that in September, Alfie starts Year 7 at a leading and prestigious performing arts school. I must admit, my eyes were moist during his solo of What If?
Beginning with When You’re an Addams, The Addams Family is a great show for ensemble because you can create as many parts as you need in the form of the family ancestors, giving much stage time too. These were Scarlett Bennett (Bride), Lexie Jennings (Ballerina), Grace Froggatt (Viking), Lottie Wilkes (Flamenco Dancer), Sophie Spruce (Baseball Player), Ellie Fletcher Brown (Hippy {Loved the hippy costume}), Jay McDonald (Cowboy), Jaime Nutting (Chef) and Zadie Wilson-Smith (Cave Woman). Further ancestors were portrayed by those in the principal roles on alternative performances. These were Lily Cross (Bull Fighter/Gomez), Kelsey Taylor (Flapper/Morticia), Darcy Harman (Stewardess/Wednesday), Noel Jeavons (Monk/Fester), Daisy Lunt (Astronaut/Pugsley), Shayera McDonald (Nurse/Grandma), Dimitri McDonald (Pirate/Lurch), Alex Hill (Sailor/Lucas), River Onions (Nun/Alice) and Lucy Keates (Elizabethan/Mal).
This was an outstanding show, full of colour, energy, and movement throughout. Direction and choreography were perfect, and this was down to the long-standing team of Belinda and Phil Cross MBE who run Starcross. Musical direction was in the safe hands of Ben Batt with vocal support from Ashleigh Foster. I must also highlight the great costumes too.
It is always a struggle for companies like Starcross to survive and hopefully they will continue for a long time. The talent of the future are the kids of today and theatre needs places like Starcross. Here endeth the lesson.
Love never dies. Love will continue. Love keeps on beating. When you’re gone.
It was a bold move from Andrew Lloyd Webber to create a sequel to possibly the greatest musical of all time but in the past, Love Never Dies has been met with criticism. So, as someone who had never seen this show, how did it fare against the mammoth Phantom of the Opera? Seriously, it can’t, but allow for a few minor niggles (and one major) and you have an incredible show. That is, if it is done well. I am, therefore, happy to say that West Bromwich Operatic Society (WBOS) did exactly that.
A few months ago, I was in the same theatre watching the UK tour of Jesus Christ Superstar. This was better by far. The sheer professionalism and quality from those who don’t get paid for doing their craft was out of this world. I’m trying not to use a cliche here, but seriously, you could not deny that this production was West End quality. And I see an awful lot of shows a year to make that claim.
The plot. Ten years after the events at the Paris Opera House, Christine Daae travels to New York with husband Raoul, and young son, Gustave. There they are reunited with Madame Giry and her daughter, Meg. It was these two who aided the Phantom in escaping all those years ago and now together, run Phantasma, a Coney Island amusement park.
Let’s get those negatives out the way. The opening is slow, and you have three numbers in the first fifteen minutes before anything happens. Also, some songs, such as Bathing Beauty, however good, have no relevance. Then the biggest gripe. The Phantom, once an epitome of mystery is normalised into humanity. Despite this, the show does stand well on its own merits, and I enjoyed it. To be honest, I found it even darker (if that can be possible) than Phantom.
As The Phantom himself, Dan Smith gave a five-star performance, particularly in ’Til I Hear You Sing. An amazing voice and equally so in stage presence. Matching that was Molly-Anna Riley as Christine who excelled during the title song, Love Never Dies. Tye Harris was Raoul, now married to Christine and he also played his part to perfection, especially during Devil Take the Hindmost with Smith’s Phantom. But there has been addition to the events of Paris in Christine’s ten-year-old son, Gustave. What can I say? The performance of Elijah Critchley was out of this world in voice and acting throughout, most clear during The Beauty Underneath.
The Giry’s were portrayed superbly by Holly White (Meg) and Sarah Moors (Madame), and they duetted well in Only for You and Mother, Did You Watch? Rounding off the principals were a trio of oddball characters who were the definitive of creepy. These were Adam Partridge (Gangle), Tasheka Coe (Fleck) and Connor Welch (Squelch) whose Coney Island Waltz was outstanding in leading the ensemble.
And it is those often unsung (forgive the pun) performers in the ensemble who also gave it all. Each time they featured, scenes were full of quality and every move mattered. This is a credit to the production of Simon Pugh (Director), Ian Room (Musical Director) and Claire Flavell (Choreographer). Of course, there will have been far more involved in bringing this show so successfully to the stage, and they can all be proud of the result. A perfect production in all departments.
Whatever happened to all the heroes? All the Shakespearoes? They watched their Rome burn.
50 years. This was my 23rd outing seeing The Stranglers and like every time for the past ten, I wonder if it will be my last. Sure, they’ve survived and thrived since the departure of Hugh Cornwell 34 years ago. And that’s a statement to their longevity itself, despite a small number who still believe that is when the band ended. Heck, even a recent episode of TV’s Mastermind had a contestant whose specialist subject was The Stranglers, but only 1974 to 1990. Come on, if they were real fans, they would acknowledge The Stranglers are as strong now as ever. Certainly better live with Baz Warne, currently with the band for 24 years (far longer than Cornwell) and playing to huge, sell-out crowds.
They have also survived the 1990s doldrums, then survived the retirement of the late Jet Black, and finally, survived the death of Dave Greenfield which I thought they’d never get past. But there they still are. Entertaining and taking me to heaven. Like they have done throughout all the incarnations. And I have seen the lot. I know it will one day end, but as long as Jean-Jaques Burnell is willing and able, I hope to always have just one more tour. And along with Warne, Jim Macaulay and Toby Hounsham, JJ still delivers the magic, this time on tour taking more of the forefront than recent years in engaging with the audience.
For the 50 Years in Black tour, there was no support, just two packed sets from the guys lasting well over two hours. Starting with Just Like Nothing on Earth, we then had for the first time of my hearing, the final track from The Gospel According to the Men in Black in Hallow to Our Craft. JJ dedicated The Raven to Dave and Jet before continuing in a wide spectrum of classics, all familiar and intimate to me and ending the initial set with Hanging Around and Down in the Sewer. Nice to see Toby take on DG’s role of vocals in Genetix as well.
After a short break, the ante was well and truly upped, entering to the staple Waltz in Black before Who Wants the World, Dagenham Dave and Duchess. Then, Peaches, Golden Brown, Always the Sun, Something Better Change, Five Minutes and Tank, they were all there (Strangely, no Grip, though). We also had White Stallion from their most recent studio album, Dark Matters, as well as Relentless, which I believe is the most played post Hugh song at gigs these days.
Then, returning for an encore which everybody knew would happen (besides, we know where they live), the band finished with the song billed as The Stranglers oldest track in Go Buddy Go before the regular finisher and No More Heroes. I am always thankful that I still do have my heroes and pray that continues just a little longer at least. What an amazing gig from an amazing band.
There’s a place for us. Somewhere, a place for us. Peace and quiet and open air. Wait for us. Somewhere.
I have never been a fan of Bernstein, Sondheim and Laurents’ West Side Story. Hated the 1961 film (although enjoyed the 2021 remake) and have always found the characters unlikable. I have even performed the show on stage, and still did not enjoy it. However, I loved this version from the wonderful Starcross Youth Theatre.
What can I say? I see many amateur and youth companies and in Starcross, an exceptional quality of talent runs throughout. There were no weak areas in this production, time flying fast due to being captivated by what was on view. Of course, West Side Story is one of the best-known musicals going. A re-imaging of Romeo and Juliet set to gang warfare in 1950s New York. And as I have said, few characters in the show are likable, but still engaging all the same.
Playing Tony was Brandon Harrison who once more shone in a lead role, excelling during Something Coming and Maria. Then, complimenting him as Maria herself in this performance was Christine Cross. A believable portrayal with added petulance and fight which brought more to Maria than just being perfect, which has often been the case in the role. Great control in voice, hitting the top notes during Tonight and One Hand, One Heart, in particular. Plus, excellent acting and dance.
As Anita, we had the outstanding Kelsey Taylor. This is such a good role and Taylor totally gave it justice with A Boy Like That. Superb. In the part of Riff, Alex Hill was on form as the hot-headed leader of the Jets, as was his Shark counterpart, Bernardo (Dimitri McDonald). One other performance also standing out in the principals was Lily Cross as Action where I totally believed the anger issues shown in the characterisation. That moment where one person constantly grabs your attention each time they are on stage.
The rest of the cast was made up by Noel Jeavons (Diesel), Tia Rafferty (A-Rab), Daisy Lunt (Baby John), Emmie Adcock (Snowboy), Callum Brothwood (Gee-tar), Sophie Spruce (Mouthpiece), Lucy Keates (Spiff), Lauren Downes (Anybody’s), Jack Harley (Chino), Jay McDonald (Pepe), Requane Wade (Luis), Mia Lombard (Anxious), Elle Fletcher-Brown (Nibbles), Grace Froggatt (Juano), Zadie Wilson-Smith (Toro), River Onions (Rosalia), Lexie Jennings (Consuella), Shayera McDonald (Francisca), Lottie Wilkes (Margarita), Lily-Grace Palmer (Estella), Scarlet Bennett (Graziella), Alexa Nutting (Velma), Darcy Harman (Minnie), Holly Hunter (Clarice), Harry Webb (Doc) and Jaime Nutting (Krupke).
The final cast member to be mentioned gets a special one as six years ago I played Shrank, so I took note and not only was Mitchell Griffiths strong and commanding as the Police Lieutenant, but I was also genuinely scared at times.
On alternate performances some roles were changed, including Maria/Darcy Harman, Riff/Lucy Keates, Anita/Holly Hunter, A-Rab/Jack Harley, Pepe/Ellie Fletcher-Brown and Lily-Grace Palmer/Consuela, all swapping the roles with those I saw.
This production pulled no punches, particularly staying faithful during that scene towards the end in Doc’s Drug Store. Shocking, yet not glorified. I must also credit some wonderful choreography, especially during the dream sequence, plus America and Dance at the Gym. There was so much to enjoy about this offering, and I do think Starcross has won me over into liking West Side Story now. And how can I finish without mentioning the epic Tonight Quintet? Heck, the whole show was amazing.
At the helm in terms of production, direction and choreography were husband and wife team and Starcross founders, Belinda and Phil Cross MBE. The vocals were also on top form throughout, and this is a testament to the direction of Ben Batt in terms of music, with support from Ashleigh Foster. Especially so as due to West Side being ridiculously OTT and expensive to do with a live orchestra, backing tracks were used by Starcross. Most in the audience would not have been able to tell, and how brilliant it was that the timings were all spot on. Such a feat. As well as playing Maria on the night, Christine Cross also aided in production as well as choreography where the latter area was then supported by April Kruszynski, Emma Babiy and Brandon Harrison.
Everybody wants a piece of the action. Everybody needs a main attraction. I’ve done what everybody needs. Satisfaction guarantees.
From an early age, I was always into rock and one of the first bands to register as I began to take music seriously was The Sweet. Now, 50 years later, and with only one member remaining from the classic lineup, I tasted something Sweet for the second time.
It’s a credit to Andy Scott that he doesn’t just roll out the old favourites. Sure, a lot were on view but also more recent and even new tracks from their forthcoming album. Yes, we all remember the Glam Rock images but there was always much more to Sweet than the commercial image promoted in the 70s with the (still marvellous) tunes from Nicky Chinn and Mike Chapman. Having moved away from their writers in the mid 70s, a bold direction after so much success, we saw the harder rock which is still being produced today.
Although Scott is the only remaining (and living) member of the most commercially successful lineup, this is still Sweet. The spirit is the same, the energy is the same, and the sound is the same. On vocals and guitar was Paul Manzi who after standing in for Tony O’Hora on tour in 2014, became a full-time member four years ago and boy can this guy front a band. Then, on bass, and outed by Scott as a West Bromwich Albion fan to the enemy in Wolverhampton, we had the excellent Lee Small. Completing the five-piece is Tom Cory (Keys and Guitar) and Adam Booth (Drums). Phenomenal.
The Action began with that very same-named banging tune and that action did not stop all night. New York Groove (from the acclaimed 2020 album, Isolation Boulevard) followed this before Hell Raiser, Burn on the Flame and The Six Teens. The latter two from the 1974 outing, Desolation Boulevard.
Mid set, Scott took a break, leaving the rest of the band to a trio of early hits in Co-Co, Funny Funny and Poppa Joe. After saying to the audience that when he heard them in rehearsals, they sounded so good he didn’t want to interfere, I did question the explanation as the last time I saw Sweet in 2005, I am sure these tunes were treated with derision. However, they went down a storm with the crowd, as did the run in to the end with Teenage Rampage, Wig Wam Bam, Little Willy, Love is Like Oxygen and Fox on the Run. Rounding off, Sweet gave the crowd what they were waiting for with a Blockbuster finale then a Ballroom Blitz of explosive proportions.
A new album is promised for 2024 with hopefully more shows on the road. Catch them while you can, Sweet still deliver.
What’s the buzz, tell me what’s a-happening? What’s the buzz, tell me what’s a-happening?
Ah, the atheist in me would love to hate Jesus Christ Superstar (JCS), however, it being the show I made my stage debut in makes it a little special instead. It also helps that Jesus’ apostles are portrayed as apathetic and full of self-important belief. In fact, the real protagonist is Judas who spends the show banging his head against a brick wall, trying to remind Jesus what he and the disciples should really be about.
Basic plot — the last week of Jesus’ life, and the fight for his destruction by the Jewish authorities. There is no spoken dialogue, the story being told though music and lyrics with no breaks. But JCS works in this format, flowing seamlessly from one number to the next with a good rock vibe from Andrew Lloyd-Webber’s original score. Okay, some of Tim Rice’s lyrics are questionable at times (Jesus calling Judas, a Judas?) but overall, it is plotted well.
Leading the show as Jesus was Ian McIntosh who I last saw as Galileo in We Will Rock You. Equally as strong now as he was on that occasion, McIntosh’s delivery of Gethsemane was one of the strongest performances I have seen in any musical theatre number. Not so much, Shem Omari James in the role of Judas. Jesus’ betrayer is meant to be forceful, and I was not convinced. With poor diction, I struggled to understand James and felt the show dropped on each appearance. Outstanding though was Hannah Richardson as Mary, performing I Don’t Know How to Love Him. Equally so during the fight with Christ was Ryan O’Donnell who came into his own during Act Two as Pilate. This is good as Pilate’s Dream during the first half is the weakest song in the show.
As the gravelled-voice Caiaphas we had Jad Habachi with Matt Bateman playing the scheming Annas. Both led their team well, especially during This Jesus Must Die. However, I found Herod’s Song terribly dumbed down and the performer not even credited in the programme. Yes, I know it was originally Julian Clary (who now thinks it more important to do panto), but for heaven’s sake (no pun intended) credit the actor taking on the role.
There was a lot to like about this production, but I still found it needlessly arty at times. On the one hand, enjoying the busker/hippie vibe of Jesus’ followers, but then at odds with the strange throwback to the 1970s film imagining of the priests. An excellent band led by Tom Deering was in a gantry on stage for all to see. A nice touch, but I found Drew McConie’s choreography rushed on occasions, seeming to run out of ideas as if performers were given the instruction, we haven’t got time to do more complex moves, so just wave your arms aimlessly. Directing was Timothy Sheader and although there was much to enjoy, I still found my attention wandering. Maybe if I had been more captivated, I might not have noticed that Jesus appeared to be crucified on a speaker stand. And then there was 39 Lashes where instead of being whipped, the crowd threw glitter over Christ instead. The biggest let-down though was Judas’s Death where there was no hanging, but the dropping from a height of a power cable. A simple but effective set from Tom Scutt included a large cross which doubled as a walkway and Last Supper table at times. However, this was positioned so far stage left that anyone in the first half dozen seats on that side could not see it.
Overall, I’m sure most went home happy after this Regent’s Park Open Air Production, but frankly, I’ve seen better from Am-Dram companies.
Several years back I watched a professional performance of Chitty Chitty Bang Bang (Reviewed on this site) and was extremely underwhelmed by the interpretation of one of the classics from my childhood. However, after seeing Bilston Operatic Company in Peter Pan twelve months ago, I attended this one with optimism for something special, and was not disappointed.
It’s always a good benchmark when time flies through a show, and this was the case here. I didn’t think about anything else with other thoughts forgotten.
I am not going to go over the plot. If you don’t know Chitty Chitty Bang Bang, where have you been all your life? Adapted by Jeremy Sams from the 1968 film written by Roald Dahl, Ken Hughes, and Richard Maibaum, itself based on Ian Fleming’s 1964 novel, the show features both original film and new songs from musical legends, Richard and Robert Sherman.
The first thing I must highlight was the absolute quality. Bilston Operatic are the best amateur company I have seen to date. Sure, their budget must be huge; you could tell this by the fact the entire chorus were Mic’d. But they obviously reclaim costs by filling the impressive Wolverhampton Grand for seven performances with shows people (particularly families) want to see. It is unusual for amateur companies to do midweek matinees, but the house was sold out, partly due to several classes of children on trips. How lovely. An enjoyable school outing and a way to get children on mass immersed into the experience of musical theatre. Hopefully, many will have sat and thought, “I want to do that,” and join a youth theatre company as a result.
Leading the cast as Caractacus Potts was the incredibly impressive Alec White. Perfect for the role, commanding the stage and outstanding during Me Ol’ Bamboo, You Two and Hushabye Mountain. As Truly Scrumptious we had Issy Checketts, instantly at home in character and marvellous during Lonely, Lonely Man and Doll on a Music Box.
I was also overly impressed with the children playing Jeremy and Jemima (Daniel Webley and Eden Owen). Both were excellent and looked easily at home on stage, working well with the adult cast, especially in the song and dance with Grandpa Potts (Mike James) during Posh! The child actors were split into two groups for alternating performances in this production, therefore I should credit Oliver Rudge and Lara Maguire who I didn’t see but am sure were equally as good.
Supporting well in the cast were Stacey Lovatt (Baroness Bomburst) and Jon Ranwell (Baron Bomburst). Both were excellent in Chu-Chi Face and captured the spirit of the roles well. Equally so was Ally Burkett as The Toymaker and Nicholas Sullivan, The Child Catcher who adopted the familiar and best guise used by Robert Helpmann in the original movie. Two of my favourites, though, and used expertly were the Vulgarian spies: Boris (Olly Derham) and Goran (Ben Evans). These are roles expanded in the musical, full of comic relief and both worked well during Act English.
This is the second time in a few weeks Simon Pugh has been at the helm of a production that I have seen, and both have been excellent. And the direction of Tye Harris was superb with lots going on in the background and a good flow to proceedings. Equally so, from Gareth Howard, musical direction led to an all-round wave of top tunes and sound. These included Toot Sweets, Truly Scrumptious, The Roses of Success, Teamwork and of course, the title song itself. And then there was the dance. With Martyn Davies in charge, we saw energy and precision throughout, even a dance ignoramus like me taking note. Particularly in The Bombie Samba, which when I saw the professional show, was a huge bore fest. However, here I was captivated, and it was a highlight. Just goes to prove what you can do with the right people.
One of my favourite childhood films, badly let down a few years ago but now with faith restored by the wonderful Bilston Operatic Company. Peter Pan last year, Chitty Chitty Bang Bang now, and Nativity in 2024. Bilston certainly know the formula to bring in revenue to make such splendid productions.
** Apologies for the delay with this review. Personal issues have put me behind **
“Throughout all the years I’ve been making music, if you get on a tour bus with a bunch of musicians, eventually the conversation will go to Sparks.” ~ Beck (The Sparks Brothers — 2021).
A major one from the tick list, and far overdue as it’s 50 years since Sparks first entered my radar. I mean, I have 26 albums and listen to them all, so this one was special.
Sparks have always been ahead of their time, influencing many bands, probably without those bands realising it. And never ones to play safe either, as was shown at The Halls in Wolverhampton. Yes, it would be easy to rely on more commercially successful numbers, but when you have a career with a duration as Sparks, averaging an album every two years, it’s an insult to Ron and Russell Mael to expect them to only stick to songs popular between 1973 and 1979.
What you get from Sparks is a full spread of repertoire. Only This Town Ain’t Big Enough for Both of Us is represented from their biggest album, Kimono My House. But that doesn’t matter, because those present are diehard fans who for them the most recent is as important as the first. This was shown by the atmosphere as even the ageing legs amid a sea of grey hair eventually got up on mass, dancing in the seats and aisles. And nice to see the audience allowed to do this without stewards asking them to sit down as some venues do. Although I suspect this was probably due to the fact there were very few stewards. I certainly couldn’t find one to direct me to my seat when I first arrived at the recently revamped Wolverhampton Civic Hall.
Entering the stage, Russell began with the question So May We Start, from the motion picture, Annette before launching into the title track from the amazing latest album, The Girl is Crying in Her Latte. Also from this were five others, proving the outstanding quality and originality is still there. Nothing is as Good as They Say it Is makes my top ten Sparks tunes already, and We Go Dancing is classic Sparks. The final track of the album also ended the main set, appropriately titled, Gee, That Was Fun. I cannot stress how good this latest album is. It’s been on loop in my car for weeks now. Go and buy/download it, you will not be disappointed.
Russell stays energetic as ever at 74 years old while Ron is still deadpan (almost throughout) at 77. I only hope I’m still behaving that way when I reach the same age.
Music That You Can Dance To, All That, Angst in My Pants, Balls and When I’m With You are all top tunes. Then there is When Do I Get to Sing My Way from 1994s Gratuitous Sax & Senseless Violence. Awesome track. The Number One Song in Heaven brought the house down and My Baby’s Taking Me Home was just phenomenal.
An incredible, feel-good show. I’m so glad to have finally seen this amazing duo (albeit with fantastic backing band) and wonder will I ever get the chance again? I truly hope so.
** Apologies for the delay with this review. Personal issues have put me behind **
We light it up, we won’t come down, and the sun can’t stop us now. Watching it come true, it’s takin’ over you. Oh, this is the greatest show.
Never more truer words than those of Pasek and Paul from The Greatest Show which were also used in Starcross Youth Theatre’s opening number of 30 Years of Youth Theatre.
It is some achievement to still be performing stunning shows after the humble beginnings when Co-Founders, Phil and Belinda Cross agreed along with Mike Klymko to put on one show (Grease) in 1993 for the pupils of Manor School, Hadley, before it closed that year. However, that show led to another and 30 years later, here we are.
Interspersed between numbers was the history and celebration delivered by Phil Cross, recognising (including video clips) all those who have been part of the Starcross story. And the night not only included current youth members, but the recently formed juniors and returning students, many of whom have benefitted from the magnificent experience of youth theatre.
Numbers on the night represented past shows and continued with My Child and Tell Me It’s Not True from Blood Brothers, Where is Love? (Oliver) Secret Love from Calamity Jane (sung by April Kruszynski) before The Deadwood Stage from the same musical. Excellent voices and fabulous dance. The family future of Starcross was then shown to be in safe hands with a lovely rendition of Somewhere Over the Rainbow by Christine and Lily Cross.
The juniors took to the stage twice for a medley of songs from Oliver before returning with Bad Guys (Bugsy Malone). The main thing about taking part in youth is to enjoy yourself and there was one lad with glasses on the front line of juniors who looked to be having the time of his life. Brilliant.
Prior to the break, we had the main title song of Bugsy Malone before the awesome Simon Zealots from Jesus Christ Superstar. Rounding off Act One were numbers from Peter Pan, Mamma Mia, and A Funny Thing Happened on the Way to the Forum.
Act Two began with a segment devoted to the non-musical plays which Starcross have ventured into successfully in recent years. Then there was recognition for another recent development, the nationally recognised LAMDA qualifications, on the night displayed by a wonderful rendition of Burn (Hamilton) by Faith Whitehouse. A superb performance indeed. Up there with the professionals.
Songs from Joseph and his Amazing Technicolor Dreamcoat, Fiddler on the Roof, Footloose and Everybody’s Talking About Jamie preceded the returning alumni who after only one rehearsal delivered a magnificent Come So Far (Got So Far to Go) from Hairspray. Then, the most emotional part of the night, and an anthem for Starcross, was the inclusion of the full company singing Starmaker (Kids from Fame), Now, I never watched the TV show at the time, but obviously followed the charts as a teenager back then and even I had a tear or two. It just seemed to sum up and embrace all that is good about youth theatre.
Before we finished, Phil and Belinda Cross teamed up for (You’re) Timeless to Me and led the company in Master of the House. Ending the night on a real high, though, the cast gave us You Can’t Stop the Beat before a medley of songs from their most recent production from February this year (and reviewed by me here) — Grease. A rousing and wonderful way to round off a fantastic night. Here’s to the next 30 years.
Cheers.
Antony N Britt
**Photos of previous shows, blatantly taken from the internet**
Antony N Britt - Author 