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.
This one was over 50 years in coming, a lifetime after I first heard the drum beat of Can the Can. Suzi Quatro is now 75 and I can only hope I have that much energy in thirteen years’ time. Okay, maybe not as raucous as 1973, but still a great voice and hitting that bass with profound effect. With a full band and backing singers whose names I can unfortunately not recall, Symphony Hall roared from start to finish.
Launching into The Wild One, the show had two long sets giving you hit after hit among many other tracks. In addition to the two already mentioned, we had Devil Gate Drive, 48 Crash, Stumbling In, If You Can’t Give Me Love and She’s in Love with You, and many more, as they used to say in the 70s on the old K-Tel adverts. Other personal favourites of mine were Daytona Demon, Mama’s Boy, and Little Miss Lovely. However, covers of Slow Down (Larry Williams), Bad Moon Rising (Creedence Clearwater Revival), Rockin’ in the Free World (Neil Young) and Sweet Little Rock and Roller (Chuck Berry) were also top drawer.
The night gave us a pure nostalgia fest and proved Suzi can still rock us other oldies (as most of the audience were) and still pull off the denim and leathers. As well as the music, there were stories and history with Ms Quatro really connecting with the crowd. From the early years as a singer with her sister in The Pleasure Seekers, Quatro tells of contacting Micky Most and heading to the UK where she became the star she still is today. Tales of TV including Happy Days (Happy memories as Leather Tuscadero) and being killed off in Midsommer Murders. Mind you, not listening to mainstream radio for 40 years I had no idea she spent 15 with her own show on BBC Radio 2. My musical theatre experience, unfortunately, never brought me to see her in Annie Get Your Gun in 1986, but I do have the cast recording, as I do all of her albums.
Although the late 70s was when I was in my teens and discovering my taste in music, the era of Quatro, Slade, The Sweet and T Rex helped form those likes for the future, and Suzi played a huge part in that. And I can only say, thank you, Suzi. A great night out.
Always one for a new musical, and in this case, based on a tale I know well. The Cottingley Fairies relates to events from the early 20th century about two girls who convinced the world (and in particular, Sir Arthur Conan Doyle) that fairies were real. I remember this from my youth and the magazine, The Unexplained, around 1980. It was in this publication that one of the girls, now elderly, revealed that they had faked the photos (No shit, Sherlock, if you forgive the pun, Sir Arthur). Having said that, it was still a magical idea and well suited for transformation onto the stage.
My first visit to the Patrick Studio at the Birmingham Hippodrome which I enjoyed, sat on the front row, fully immersed into the whole experience. With some excellent scenery and props, you really did feel like you were part of procedings. It was also my first time sampling British Youth Musical Theatre who worked with Clare Packham (Writer/Co-Lyricist) and Fintan Kealy (Composer/Co-Lyricist), who are part of Cameron Mackintosh’s Resident Writing Team Placement. The result — an intriguing and most enjoyable production.
Told mostly through song and dance movement, there was a real feel of folk with a fair bit of prog rock thrown in. This worked well concerning the subject matter and I loved the imagery of the fairies as they surrounded the characters in a dreamlike fantasy state. By the end, you really wanted the story to be true, and such was the effect, those fairies were real enough to me. I enjoyed how the older and younger versions of the two girls interacted, the audience getting a solid feel of a story being told by the elder ones. We had turmoil, poignancy of loss during wartime, and a fair bit of humour at times, all delivered well by an outstanding cast.
Nicole Cammack was exceptional as Young Frances (Bearing an uncanny likeness to the real one, too) as was Blaize Middleton in the role of Elsie. For their older counterparts, strong performances came from both Danielle Kelly-Honey (Frances) and Fern Mellor (Elsie). Supporting well though were Scott Hawthorne as the duped Conan Doyle, Gwen Pritchard-Thomas (Annie Griffiths), Zack Went (Edward Gardner), Isla Jones (Polly Wright) and Caitlyn Hamilton (Arthur Wright).However, an ensemble of more than 30 also played their part in the whole magical experience. At the helm in production were Ewa Dina (Director), Jacob Savage (Musical Director), and Hannah Fairclough (Choreographer). Credit must also be given to the amazing costumes and set (Lu Herbert), effective lighting (Rachel E Cleary) and solid sound (Sam Levy).
So, did I believe in fairies afterwards? Not exactly, but it is a nice idea. However, I did believe in British Youth Musical Theatre, and I shall be watching with interest in the future. Overall, a wonderful outing to Yorkshire of 100 years ago and a production I shall remember for a long time.
Having worked before with all three writers involved in this production, I had no hesitation going to see one of the debut performances of Ghost Stories. This is a one act play (55 minutes) written by the partnership of Scott Cartwright and Joshua Coy in collaboration with Kieran Sketchley. Performed in a small, intimate venue, Ghost Series is a fully immersive experience where you believe you are in the woods with our players. The show consists of two characters and five voiceovers, which within the context of the setting, are creepy in the extreme.
Teddy and Jasper go camping overnight in the woods to find the truth about recent bear attacks which have claimed the lives of children and their adult camp leader. Here they confront fears and memories of the past through storytelling around the campfire. This tests their friendship as they unlock the doors which have kept the horror and secrets of the past firmly hidden.
Scott Cartwright (Teddy) and Kieran Sketchley (Jasper) are both accomplished and professional performers and I was completely riveted by their delivery. Very good interaction between the two with great chemistry. The voices of the kids were provided by Ava Vaughan, Luke Green, Sophie McDonald and Maria Lee Vazquez with Brandon Ferguson as Camp Leader Ferguson. These voices blended well, fitting in perfectly with the setting.
To have a performance containing just two onstage actors is challenging but the results here were a captivating scenario which had you gripped through many twists and turns right until the end. I particularly liked the injection of humour alongside the suspense, a method I always enjoy. Without giving too much away, a conclusion was used that I have often done myself, and that is the real horrors out there are not the monsters, but people themselves.
I also liked the pre-show exchanges which gave clues, foreshadowing much of what was to come. A thoroughly enjoyable afternoon’s entertainment and I have no hesitation in recommending any future productions of this, or any others from this talented writing team. One last observation; Teddy Bears Picnic really is a creepy song.
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.
I have become a great fan of Script Youth Musical Theatre Company in recent times; therefore, I had no hesitation going to see this short junior version of the West End hit, Frozen. We were in the smaller, Ron Barber Studio at The Crescent and with a company of 50, it was inevitable the four performances would be split into two casts. On my visit I saw Cast Anna with Cast Elsa being the ones I unfortunately missed. However, having been to a few shows by Script now, I am certain the Elsas would have been as equally amazing.
I am not going to dwell too much on the story. Princess with magical freezing powers flees her land to safeguard her people and is followed by her sister and friends who want to save her, plus enemies who are out to destroy her.
In the role of Elsa was the wonderful Evie Rice who never disappoints and excelled in Let it Go. As Anna, we had the equally amazing Aimee Whillis who duetted well with Evie during For the First Time in Forever. Aimie also shared the excellent Love is an Open Door alongside the marvellous Sam McCormack who played Hans. Elsewhere, we had a great rendition of Reindeers are Better than People from Finlay Laidlaw (Kristoff) and Lewis Ward-Bygrave (Sven) who also successfully undertook the task of working the reindeer puppet. Similarly, Ruby Edmonds did a fantastic job at the helm of everybody’s favourite snowman, Olaf and performed In Summer well. I also want to mention the younger Elsa’s (Poppy Kerr and Lilah Edmonds) and Anna’s (Matilda Cartwright and Maddie Howard).
With such a large amount of people involved, it’s impossible to give everybody the credit they deserve, so I shall simply scan the cast list of both groups. Producing Frozen Jr on my visit was Louise Farmer while choreography was shared between Molly Chamberlain and Maddie Fleming. The dancing had an especially high standard and in particular, Francesca Roberts stood out in flair and skill. Production for Team Anna, on other performances, was Louise Sall and Tim Rice (Producers) and Erin Mooney (Choreography).
The show was a short one at an hour, but that did not lessen the experience as you were taken to a magical land in such an intimate venue. It was also interesting to note that many on production and backstage were pupils past and present, and that some of the senior members attend the prestigious BOA Academy in Birmingham. A sign of this youth company having a high standard indeed. Script are back next summer with We Will Rock You at the Highbury Theatre in Sutton Coldfield. I recommend you check them out.
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.
I just blew in from the windy city. The windy city is mighty pretty but they ain’t got what we got, no sirree.
First time seeing Calamity Jane for me and first time watching Cradley Heath Amateur Operatic Society (CHAOS).
Somewhere, in the black mining hills of Dakota, there lies a town called Deadwood – home to Calamity Jane. A whip-cracking, sharp shooting and tall-story telling stage driver who runs the route between Deadwood and Chicago. Also in town lives Wild Bill Hickock, Lt. Danny Gilmartin and failing saloon owner, Henry Miller. When Miller books the wrong singer in male, Francis Fryer, Calamity goes to Chicago to find star singer, Adelaide Adams. However, she is duped into bringing novice, Katie Brown instead. All works out, despite the complications of love. It’s a lively, funny show with a book from Ronald Hammer and Phil Park, plus music and lyrics by Sammy Frain and Paul Francis Webster. Yes, some of the lines are dated, especially those relating to sexual equality, but otherwise the script holds up well in 2023.
Starring as Calamity we had Liz Compton whose self-inflicted attack on the throat must have earned her shares in Vocalzones. An outstanding performance and equally so from Richard Probert as Wild Bill Hickock. And that level of excellence went all through the entire company. Top notch singing and fine character acting. Supporting well were Emma Newton (Katie Brown), Thomas Lloyd-Price (Lt. Gilmartin), Adam Partridge (Francis Fryer), Bek Millward (Susan) and Salli Gage (Adelaide Adams). Then, I loved J. Paul Murdoch in the comic role of Henry Miller with a characterisation reminiscent of silent actor, James Finlayson.
I’m never a huge fan of musicals in Town Halls like Stourbridge as I find the sound gets lost in these cavernous venues. Fortunately, I was on the front row and heard everything perfectly.
There are several instantly recognisable tunes in Calamity Jane. Most notably The Deadwood Stage, Windy City, The Black Hills of Dakota, and Secret Love. All were delivered with excellence, as was Love You Dearly and It’s Harry I’m Planning to Marry, all under the musical direction of Edd Caine.
An impressive set worked well with slick movement between scenes and the direction of Steve Humpherson always had the cast busy with facial expressions and interactions. And there was a high quality of dance as well, choreographed by Emma Newton making this an all-round excellent production. One thing I did notice was CHAOS do not appear to have many younger members, but this did not reflect negatively on the performance. Overall, the entire team of Calamity Jane were up there with the professionals, and I look forward to their next production.
Who can take a sunrise, sprinkle it with dew, cover it with chocolate and a miracle or two?
I don’t think I have come across a musical so divisive as Charlie and the Chocolate Factory. Having spent a while reading comments on social media relating to the tour, I find myself frustrated at the ignorance of many.
“Why were the Oompa Loompas 6ft tall silver cybermen?”
“Charlie Bucket is a boy and should not be played by a girl.”
“Hardly any of the songs from the films were in the show.”
Those are just a few comments which irritated me. It makes me wonder how many of those nigglers have ever been to musical theatre before, and that maybe this medium is not for them. It’s theatre, and if creativity interprets Oompa Loompas as silver, then so be it (And they were not all 6ft tall, they were the dancers). Similarly, there is no reason Charlie cannot be a girl and finally, if people wanted a carbon copy of the film, then they are best sticking to watching the film and not a musical theatre interpretation. But that does not mean I didn’t have a gripe of my own. Although, excellently performed, the casting of adults in child roles (The four naughty Golden Ticket Winners) made me cringe. There are some fantastic child performers in the UK, so use them. There … rants over.
I’m not going to dwell on the plot because if you’re reading this, you will know the ins and outs of the story anyway. Let’s face it, it’s on TV most Christmases. The show stays faithful in the main to both original book by Roald Dahl and the movie versions which followed. And going back to silver Oompa Loompas, Dahl’s original vision was them being black pygmies. Ouch!
Although Willy Wonka is billed as the chief character, I am going to differ and give top spot to Jessie-Lou Harvie as Charlie Bucket. Let’s face it, Wonka does not appear until the end of what is a rather slow Act One. I had no issues with Charlie being female and it did not cross my mind otherwise until I saw negative feedback afterwards and needed to defend. Jessie-Lou was magnificent (Loved the accent, as well), excelling in acting, song, and dance. Particularly during Almost Nearly Perfect.
Wonka himself was played on this occasion by Ewan Gillies, the second understudy in a lead role I had seen in a week, but no less amazing. A top draw performance capturing the magic, mystery, and eccentricity you would expect of Willy Wonka.
In the part of Grandpa Joe, we had Michael D’Cruze who fitted the role and delivered Charlie, You and I very well. I must have missed the reasoning, but I couldn’t fathom why Joe went to the factory tour dressed as a Bus Conductor. As usual, though, the lazy bugger, having spent 20 years in bed, jumps up in song and dance when there’s a chance of free chocolate. At least he didn’t persuade Charlie to steal Fizzy Lifting Drink.
Mrs Bucket (also Mrs Teevee) was portrayed by Leonie Spilsbury and sang Candy Man. I was also impressed with the signing by Spilsbury throughout. The other parents shared roles with the bed-ridden grandparents: Morgan Scott (Grandpa George/Mr Salt), Kate Milner-Evans (Grandma Josephine/Mrs Gloop) and Emily Winter (Grandma Georgina/Mrs Beauregarde).
I have already said my opinion about adults in child roles (Bleugh!) but cannot fault Kazmin Borrer as Veruca, particularly in the ballet sections. Equally well done to Robin Simoes Da Silva (Augustus Gloop), Marisha Morgan (Violet Beauregarde) and Terry Hinde (Mike Teevee). Rounding off the principals we had Victoria Nicol (Mrs Pratchett), Ty-Reece Stewart (Jerry) and Lucy Hutchinson (Cherry).
Numbers and dances I liked especially were Pure Imagination, Strike That! Reverse It, Veruca’s Nutcracker Suite, and The View from Here. It was all spectacular with energetic dance and good choreography from Emily Jane Boyle. Simon Higlett’s setwas also impressive, as was musical direction by David Shrubsole. The director of Charlie and the Chocolate Factory was James Brinning. The production was adapted by David Greig with musical composition from Mark Shaiman and lyrics, Scott Wittman.
This is a spectacular show and as long as you do not expect a carbon copy of a 50-year-old film, you will be transported indeed, to a world of pure imagination.
Pretty woman, walkin’ down the street. Pretty woman, the kind I like to meet. Pretty woman, I don’t believe you, you’re not the truth. No one could look as good as you.
So … Pretty Woman, a musical based on the 1990 film which followed a trend of being named after songs to boost popularity. I have never seen the film but am told the 2018 musical follows the plot closely. It centres on the relationship that develops between Vivian Ward, a free-spirited Hollywood prostitute, and Edward Lewis, a wealthy businessperson who hires her for a week to be his escort for several business and social functions.
With a book by Garry Marshall and J.E. Lawton, plus music and lyrics from Bryan Adams and Jim Vallance, Pretty Woman draws heavily on the nostalgia and popularity of the original movie but also has a sound script which flows with decent songs. My only criticism would be that the plot is too simple with apparently less conflict between Vivian and Phillip Stuckey (Stuart Maciver) than the movie.
In the title role of Vivian, we had Amber Davies. I like Amber Davies. I recall going into 9 to 5 a few years back, only hearing second-hand of the Love Island connection and being wowed by the fully theatre trained talent she is. An impressive performance in acting and voice, excelling particularly in Anywhere But Here and I Can’t Go Back. Edward, on this occasion was played by understudy, Ben Darcy but (as I have found on many occasions of seeing the understudy) was outstanding, including perfect renditions of Something About Her and You and I.
As Happy Man/Mr Thompson, we had TV Presenter and Strictly Come Dancing winner, Ore Oduba who many in the audience had come to see. Happy to say he was excellent in the role although I do have to draw issue with the unnecessary references to Strictly. Come on, this is musical theatre, not panto, and it wasn’t all about one principal. Equally strong was Natalie Paris as Kit De Luca, also giving a good showing with Oduba and Ensemble during Never Give Up on a Dream. And I must give a special mention to Noah Harrison who stood out strong in many scenes featuring his comic character, Giulio.
Other good numbers included You’re Beautiful, Long Way Home and Together Forever. Finally, after the bows, we got the full cast rendition of the title song, which has no relevance to the plot whatsoever, other than feelgood factor but was welcome and well-delivered.
Pretty Woman was directed and choreographed by Jerry Mitchell with the UK tour responsibilities in the hands of Dominic Shaw and Matt Jones. Global Musical Supervisor was Will Van Dyke while Griff Johnson led an excellent orchestra.
A decent enough show. Not sure I would see it again for a while but overall, a good night out, especially due to Amber Davies.
Antony N Britt - Author 