Theatre Royal Nottingham – until Saturday 7th October 2023
Reviewed by Jill Heslop
5*****
What a treat is in store for those heading to Nottingham’s Theatre Royal this week to see Northern Ballet’s sumptuous production of Beauty and the Beast. Choreographed and directed by David Nixon CBE with haute couture-style costumes designed by him too, this ballet is a moving, world-class display of elegance and precision. The live musical score, including Bizet and Debussy, is arranged by John Longstaff, conducted by Geoffrey Paterson and delivered with moving precision by the Northern Ballet Sinfonia.
The performance was given extra heart due to the announcement by the musicians before the performance that live music in Northern Ballet is under threat. The audience and cast responded supportively to this, especially at the end of the evening with the musicians and dancers having worked so well together to produce such a beautifully executed production.
The story of Beauty and the Beast is a well-known fairytale and there is a hint of magic in the elaborate mirrored sets by Duncan Hayler. The castle is rendered well with impressions of ivy-clad walls for the Beast, played by Kevin Poeung, to scale during his animalistic roving through his prison-like property. Contrasts are cleverly set up between Prince Orian (Jonathan Hanks) as arrogant and narcissistic and the Beast (Kevin Poeung) as uncouth and self-loathing; Beauty, played charmingly by Dominique Larose, as gentle and caring and Beauty’s sisters, as spoilt and shallow, played with fun and energy by Julie Nunés and Heather Lehan. All this is conveyed to the audience with perfect timing in combination with the music, used with precision to match the action of the dance.
The dancing is a blend of strong classical technique with naturalistic movements and impressive storytelling. We are moved by the elegant and graceful nature of Beauty’s dancing in comparison to the lumbering and tortured gymnastics of the Beast as they develop their relationship. The choice of Debussy’s Clare De Lune during the dream sequence is beautifully rendered with flowing movements of the dancers matched by the shimmering costumes. Dramatic lighting, designed by Tim Mitchell, adds to the atmosphere throughout with colourful and bright costumes adding to the playful tone such as when the sisters return from a successful shopping trip loaded down with shopping bags!
The motif of the rose is used throughout the performance as a symbol of giving and receiving. The story of Beauty and the Beast itself is a timely reminder of the importance of kindness to one another and how kindness is a transformative power. The poignancy of this message is mesmerisingly rendered by the cast of this beautifully produced ballet resulting in a transporting theatrical experience.
Direct from an acclaimed Broadway season, ‘The Kite Runner’, an outstanding and unforgettable theatrical tour de force,is returning to the UK in 2024
Based on Khaled Hosseini’s international bestselling novel, this haunting tale of friendship spans cultures and continents and follows one man’s journey to confront his past and find redemption.
Afghanistan is a country on the verge of war and best friends are about to be torn apart. It’s a beautiful afternoon in Kabul, the skies are full of colour and the streets are full of the excitement of a kite flying tournament, but no one can foresee the terrible incident that will shatter their lives forever.
One Broadway season and two West End seasons have garnered international acclaim for this incredibly powerful story.
The Kite Runner, adapted by Matthew Spangler, directed by Giles Croft, will open its 2024 UK tour at the Waterside Theatre, Aylesbury 7-9 March, then tours to Richmond Theatre, London, 12-16 March.
The other dates are: 18-23 March Bath Theatre Royal; 26-30 March Chester Storyhouse; 2-6-April Dublin Gaiety, 9-13 April Glasgow Theatre Royal; 16-20 April Nottingham Playhouse; 23-27 April Liverpool Playhouse; 30 April – 4 May Oxford Playhouse; 7-11 May Salford The Lowry; 14-18 May; Guildford Yvonne Arnaud; 28 May – 1-June Malvern Festival Theatre; 4-8 June Sheffield Lyceum; 11-15 June Brighton Theatre Royal; 25-29 June Newcastle Theatre Royal; 2-6 July, Cheltenham Everyman.
Cast and full creative team to be announced.
Produced by Martin Dodd for UK Productions and Stuart Galbraith for Kilimanjaro Productions. Originally produced by Nottingham Playhouse and Liverpool Everyman and Playhouse.
Faye Tozer first flew into the public consciousness as one fifth of the much-loved band Steps in the late 1990s, but she has also forged an impressive nearly two-decade long career in musical theatre alongside the band’s continuing success.
Credit: Johan Persson/
She’s now touring the UK in 42nd Street which comes to Newcastle Theatre Royal Tue 10 – Sat 14 Oct 2023. We caught up with Faye to hear all about those dancing feet, and what makes 42nd Street so special to her.
Audiences may know you best for your time in Steps, but you’re a hugely experienced musical theatre performer. What was the transition into musical theatre like for you? Are there many similarities?
I was very lucky to get my first musical in 2004 which was Tell Me On A Sunday, but I actually wanted to get into musical theatre from a really young age. It was amazing having Steps come first, and then having a wonderful life in musical theatre as well. The transition for me was quite interesting, mostly because of how people initially perceived me, but it’s been so wonderful to be somebody who surprises audience members who might have a preconceived idea of me. I just absolutely absorb myself in the show and in my love of theatre and I’m so lucky to tread the boards in between the times that I’m with Steps.
Steps are of course hugely well loved by fans for their choreographed routines, and 42nd Street shares a love of dance. What is it about dance that you particularly enjoy, and are there any aspects that you find more challenging?
As Steps we are of course well known for our dance routines, but dance for me has always been such a hugely special thing in my life because I just feel so joyful when I dance. My Mum sent me and my sister to dance school when we were tiny to burn off all our energy but it’s so much more than that. It’s just joyful to watch people dance and do it so brilliantly as well. To be part of 42nd Street which is all to do with dance and tap is like my childhood self’s dream! When I was about 12 years old, we performed some numbers from 42nd Street so the fact that I’m now doing it as a professional is such a wonderful full circle moment. It’s dreamy to watch the ensemble perform all these incredible numbers every night.
Your character of Maggie Jones is the writing partner of Bert Barry, played by entertainment icon, Les Dennis*. What’s it been like working with Les?
Oh, wonderful Les! Les and I actually have a little bit of history via Steps because he came and did a sketch for us for Steps Into Summer, a television programme we did. Over the years I’ve bumped into him at gameshows and things but what a joy to be sharing the stage with him, and what an absolute pro he is!
You’re experienced at touring life both as a musician and theatre performer, what are some of your must-have items for life on the road, and is there anything you like to do when you arrive in each town or city?
I am an absolute pro when it comes to touring as I’ve been touring since I was 18! I always have a prepped bathroom bag with all my bottles ready to go – when I come home at the weekend I fill the bottles back up and then they go back in the bag. I’ve got different bags for different sizes of cases as well, and I’ve got my magic overnight bag ready to go. In terms of things I like to take with me, I have a tiny speaker which is amazing and I’ve got a plug that has all my leads in it ready to go, so I can just plug it in at the hotel or wherever and I know I can charge my watch, my phone, my iPad. I always take my iPad with me when travelling so it’s loaded with all the programmes I’m watching just in case I get stuck on a journey!
You’re a very busy person, and touring life is busy too, what do you like to do during your downtime or do you have anything planned for when you next have a break?
In my downtime I love to be at home, cuddle my son, my dogs, and my husband, and just enjoy really normal things at home. I’m so blessed to live 10-minutes from the sea, so going down to the beach and just getting fresh sea air is incredible. If I’m in London or around friends then I love to catch a show, I’m a huge fan of musicals so I see as many as I can and of course I love good food and good company, just catching up with friends is so lovely.
With the wealth of experience you’ve since gained, is there any piece of advice you’d go back and give your younger self at the start of your career in music and theatre?
That’s an interesting question. I think if I could have told myself, my 18-year-old self, anything I’d say to enjoy life a bit more and not take it so seriously, and also not compare myself to other people and find joy in what makes me a bit different. The thing is though, that’s nice advice to give but part of your learning and growing up is going through all those things. All the things we might call mistakes are important life experiences that teach us where we could be going forward to. Overall, I just feel really happy and blessed to be where I am. I’m proud of my career so far, and also incredibly excited by what I’m able to be doing right now!
42nd Street plays Newcastle Theatre Royal Tue 10 – Sat 14 Oct 2023. Tickets can be purchased at www.theatreroyal.co.uk or from the Theatre Royal Box Office on 0191 232 7010.
*Les Dennis will not be appearing on Fri 13 & Sat 14 Oct 2023
Lyceum Theatre, Sheffield – until 7th October 2023
Reviewed by Sophie Dodworth
4****
Matthew Bourne has a reputation for creating some fantastic adaptations. Taking classical tales of the very traditional variety, revamping them and splashing his style all over them, in the world of dance. This is such a great example of that. Romeo and Juliet stops at the Sheffield Lyceum for one week only and it’s well worth getting down there for a wonderful night out, if this is your cup of tea.
This is not Romeo and Juliet as you know it, although does still carry the tale of two young people falling in love, with a tragic ending. But this time the setting is an institution of sorts for young people (The Verona Institute) partaking in group therapy and living their lives within the four walls.
The talent on the stage with this cast is unreal. Super polished, charismatic and fresh. Amongst the wonderful crew, a few to mention are Monique Jonas playing Juliet, wow, she has some great stage presence to compliment her dance ability. She suits the role well with her feminine charms and grace. The dance between her and Romeo (Paris Fitzpatrick), is so beautiful and really welcomed for a bit of a breather in the performance, as it’s quite tense and hectic up to that point. Danny Reubens playing Tybalt is exceptionally good at creating the fear within his character. Anya Ferdinand really stood out as Faith with her superb expressional face and exquisite dancing.
A real huge nod must go to set and costume designer Lez Brotherston for one of the best, most effective sets. The huge ‘brick’ white wall is used in so many ways, to dance off, to run up, to climb up the steps. It also is a perfect plain canvas as a backdrop for the costumes and dancers bodies, which really stand out in front of it. When the huge light is brought down on to the stage, it’s quite unbelievable how they manage to transport that into different theatres. The scale of it is really quite something!
If you are after a classic Romeo and Juliet then this is not for you, this is edgy, well-executed contemporary magic, adapted with a real twist
Faye Tozer, Les Dennis, Michael Praed and Nicole-Lily Baisden head this incredible cast of 42nd Street to a perfect performance in Southampton.
Olivier Award winners Bill Deamer and Rob Jones have choreographed and designed this incredible performance and their hard work has surely paid off. We follow Peggy Sawyer (Baisden) as she works hard to become a successful performer and after being picked up by Julian Marsh (Praed) initially as a member of the chorus line, she becomes the leading lady of ‘Pretty Lady’, a show written by Maggie Jones and Bert Barry (Tozer and Dennis) and Sawyer excels!
Nicole- Lily Baisden was a perfect casting, with vocals that soared and feet that continually tapped in time, I couldn’t think of a better performer to take on this challenging role. Together with Faye Tozer as Maggie Jones, their rapport was encapsulating, with Tozer giving the perfect balance of support and love mixed with gentle persuasion (with vocals and dance talents to add to the perfection!).
The cast is truly superb, with an extremely tight performance from the dancers at every turn. The tap routines, incredibly complex and intricate, are carried out to perfection-with not a toe out of line. Robert Jones’ costume and set design add to the extravagance on stage, with more sequins than I think I have ever seen in my life! I was, from the outset, totally mesmerised by the dancing and singing from the whole cast and felt my foot tapping away during most songs, but particularly throughout ‘We’re in the Money’ (my favourite song In the show!)
If you haven’t made your way, or started your journey – come and meet these dancing feet down 42nd Street! If you’ve got a little time to spare, you will not be disappointed by this phenomenal cast!!
A powerful and down to earth production addressing seriously the issues that fundamentally affect many and their livelihoods in society today. I,Daniel Blake, based on Paul Laverty’s screenplay and Ken Loach’s multi-award-winning film, comes to the Leeds Playhouse as part of the UK Tour. The stage co-production is adapted by Dave Johns, who played the role in the 2016 film, and is directed by Mark Calvert.
I, Daniel Blake is about the stories of Daniel (David Nellist) and Katie (Bryony Corrigan) who are facing circumstantial hardships that financially impact their lives. Their hardships are not met with the current social security system and its bureaucracies. Daniel and Katie share their stories that raises awareness of what many people face today particularly the cost-of-living crisis and the gig work economy.
The story of the stage adaptation has been updated since the film to reflect the worsening situation and the severity of the hardships many more face now than in 2016. It is relevant, logical and is beautifully and poignantly told by Daniel and Kate whose solidarity and companionship combine with kindness, hope and humour supporting their plights of what seems to be never-ending challenges.
It is entertaining and yet compelling with questions, anger and frustration as to why in reality many have to face what Daniel and Katie face. The characters may be fictional, but their stories and its themes certainly are not! It is an awakening call to all in society today and this well thought out production successfully calls this.
First class portrayals of Daniel by Nellist and Katie by Corrigan. They successfully project the characters and their stories. Both performers are supported by a strong and talented cast; notably Kema Sikazwe who plays China, and he played the same role in the 2016 film. The staging, designed by Rhys Jarman, is functional and is adapted creatively to stage each scenario. The stage works well with Simisola Majekodunmi’s lighting and Roma Yagnik’s soundscapes.
It is a relevant play for all to see what life is really like for the many in modern Britain and how the current social security system is not working to support the essentials for those who need it. To reiterate it is an awakening not another awareness of an existential issue which continues to be intensified.
From 2016 to the present time food banks have dramatically increased along with the hygiene bank and other community driven emergency support networks. It can be hoped that the proposed Essential Guarantee can be introduced and implemented socially and politically to make the crucial differences.
The stories told in I Daniel Blake can be anyone is with any change of circumstances.
Photographer credit: Oliver Rosser, Feast Creative LtoR: Top row – Stephenson Ardern-Sodje, Emily Lane, Will Jennings / Bottom row – Miracle Chance, Adam Bregman, Eubha Akilade
THE CLASS OF 1985: FIRST CASTING REVEALED FOR ‘STARTER FOR TEN’ MUSICAL AS NEW PHOTOGRAPHY IS RELEASED
THE WORLD PREMIERE OF NEW MUSICAL ‘STARTER FOR TEN’ BASED ON THE BESTSELLING DAVID NICHOLLS NOVEL AND POPULAR HBO/PLAYTONE FILM WILL RUN AT BRISTOL OLD VIC 29 FEBRUARY – 30 MARCH 2024
SET IN 1980’S BRISTOL, WITH THE BACKDROP OF TV QUIZ SHOW UNIVERSITY CHALLENGE, THIS BIG-HEARTED SHOW WILL FEATURE AN 80S-INSPIRED ORIGINAL SCORE AND LYRICS BY TOM RASMUSSEN AND HATTY CARMAN, WITH BOOK AND LYRICS BY EMMA HALL AND CHARLIE PARHAM
Antic Productions, Bristol Old Vic, Longshot Films and Playtone today announce initial casting for their major new musical Starter for Ten, introducing a new generation of young actors with a wealth of musical theatre talent between them. This bright, big-hearted show will receive its world premiere at Bristol Old Vic from 29 February – 30 March 2024 as part of Nancy Medina’s inaugural season as Artistic Director.
Based on the hilarious coming-of-age novel by David Nicholls (One Day, Us, Sweet Sorrow) and the popular 2006 film adaptation starring James McAvoy, Benedict Cumberbatch, James Corden and Rebecca Hall, this tale of love, class and growing up in the 1980s is set in Bristol against the backdrop of legendary British quiz show University Challenge.
Starring in the leading role, Adam Bregman plays the Southend-born, Bristol-bound undergraduate, ‘Brian’. Currently training at The Royal Conservatoire of Scotland, his previous theatre includes Sing Street (Huntington Theatre) and Bar Mitzvah Boy (Upstairs At The Gatehouse). His film and TV credits include: The Effects Of Lying (ITVX), Genius/Picasso (National Geographic), Tolkien (Fox Searchlight Pictures) and Call Me Alvy (Turn The Slate Productions).
Making her stage debut, Eubha Akilade takes the role of ‘Rebecca’, Glasweigan rabble-rouser and Brian’s closest friend on campus. Eubha began her acting career in 2014 when she landed the regular role of Lily Watson in the CBBC hit series Eve, a role she played for 3 series. As the regular character of Ines Le Breton, she filmed 3 seasons of the hit Hulu/Disney show Find Me In Paris and since then has appeared in BBC Studios/World Productions The Diplomat as recurring character Amy Callaghan, ITV’s Six Four as recurring character Olivia O’Neill and most recently has been filming her second series of BBC’s Shetland where she plays the regular character of PC Lorna Burns. She will also soon be seen in Northern Ireland Screen’s feature film Housejackers.
Stephenson Ardern-Sodje plays Brian’s childhood best friend ‘Spencer’. His musical credentials include the role of Spike in Rock Follies (Chichester Festival Theatre); the lead role of Daniel in Once on This Island (Regent’s Park Theatre); Simba in Disney’s The Lion King (UK & Ireland tour); and Hamilton: An American Musical (Cameron Mackintosh Ltd). Other theatre includes A Midsummer Night’s Dream, As You Like It and The Tempest (Globe Theatre tour). Television includes Mood (BBC) and Breeders (Sky).
The Challenge team also features Miracle Chance in the role of ‘Lucy’, always calm in a crisis and a quiz fanatic. Miracle is currently in rehearsal for the National Theatre production of The Witches. Recent theatre work includes the role of Veronica Sawyer in Heathers and Be More Chill (both for BKL productions); The Witchfinder’s Sister and Priscilla Queen of the Desert (both Queens Theatre Hornchurch) and Rocky Horror Show as Columbia (Trafalgar Entertainment).
The role of ‘Alice’, student am-dram celebrity and Brian’s unrequited crush, is played by Emily Lane. Emily’s musical theatre career began as a child playing Brigitta Von Trapp in The Sound of Music (Really Useful Group production) and Young Cosette in Les Misérables for Cameron Mackintosh productions. She most recently played the lead role of Anna in the West End production of Frozen (Theatre Royal Drury Lane). Other credits include Elle Woods in the ArtsEd production of Legally Blonde in 2019.
Will Jennings plays ‘Patrick’, the Bristol Challenge team captain and Brian’s biggest critic. Will’s West End theatre credits include Les Misérables (Sondheim Theatre, West End); The Mousetrap (St Martin’s Theatre) and Avenue Q (Gatehouse Theatre, London), alongside UK tours of Shrek the Musical (UK tour) and Benidorm Live (UK tour). Further theatre credits include The 25th Annual Putnam County Spelling Bee (Broadway Theatre, Catford); The Night Pirates (Rose Theatre, Kingston); Stravinsky’s The Soldier’s Tale (Royal College of Music); Cinderella (New Wimbledon Theatre); Dick Whittington (Salisbury Playhouse) and Sleeping Beauty (Milton Keynes Theatre).
Emma Hall and Charlie Parham said: “It is so exciting to be working with a new generation of extremely talented young actors. In exactly the same way that the film ‘Starter for 10’ was instrumental in launching the careers of so many young British stars (James McAvoy, Benedict Cumberbatch, Rebecca Hall, Dominic Cooper and James Corden to name but a few!), we have seized this opportunity to champion and showcase the stars of tomorrow.”
Further casting to be announced later this year when the lead roles of Professor Bowman, Brian’s mum Irene Jackson, and the iconic quizmaster Bamber Gascoigne will be revealed.
David Nicholls, author of the bestselling novel Starter for Ten, said “20 years after publication, it’s such a thrill that Brian’s misadventures are being brought to the stage, and by such a brilliant, dynamic team.”
Starter for Ten has book and lyrics co-written by Emma Hall and Charlie Parham, Artistic Directors of Antic Productions. The 80s-inspired original score and lyrics are composed by queer, pop-punk composers Tom Rasmussen (who recently supported Rina Sawayama and Self Esteem on UK tour with their debut album, Body Building) and Hatty Carman. The production will be directed by Charlie Parham, choreographed by Shelley Maxwell, with set and costume design by Olivier Award-nominee Frankie Bradshaw, sound design by Gregory Clarke and casting by Will Burton for GBC.
What is eighteen-year-old Brian Jackson’s proudest achievement to date? His A-level results. His idol? Kate Bush. His lifelong dream? To compete on legendary TV quiz show University Challenge. It’s 1985 and, leaving Southend to start his first year at Bristol University, Brian soon discovers that falling in love and growing up take a lot more than general knowledge…
Featuring an irresistible original soundtrack inspired by the riotous student scene of the 80s, Starter for Ten is a bright, big-hearted coming-of-age comedy about love, belonging and the all-important difference between knowledge and wisdom.
Blackpool Grand Theatre – until Saturday 7 October 2023
Reviewed by Debra Skelton
5*****
“Laughter, mayhem, and a great deal of slapstick is what you will get so do not miss the opportunity to see this amazing comedy”.
The Theatre Royal Bath Productions in association with Birmingham Rep present Noises Off written by Michael Frayn which can be seen at The Grand Theatre Blackpool until Saturday 07th September.
This is the first time that I have reviewed a comedy and all I can say is I never stopped laughing from start to finish along with the rest of the audience. One of the most common themes in this farce is the abundance of chaos with characters running around trying to prevent one crisis after another which on many an occasion caused more issues with which they then had to resolve.
Noises Off is an extremely amusing play about a touring theatre group as they act out their own play – Nothing On and is portrayed in three acts including final rehearsals for one show, backstage for opening night for another and the final act is the last matinee for the show.
‘Act one’ is set at midnight, the night before the first performance at the fictional Grand Theatre in Weston-super-Mare. It is the technical rehearsal where the cast are desperately unready which results in missed cues and lines, confusion with entrances and exits and annoying props including several plates of Sardines. This results in driving their director Lloyd into a seething rage on several occasions.
‘Act Two’ is at the Theatre Royal in Ashton-under-Lyne (this was an actual theatre that was demolished in 1963) and is a month later and seen from the backstage at the Wednesday matinee performance. It provides a view that emphasises the petty quarrels of lovers, deteriorating relationships between the cast and romantic rivalries which causes mischief offstage including an axe and cactus and uproar and confusion on stage.
‘Act Three’ the final act occurs at the end of the ten-week run of the show at the fictional Municipal Theatre in Stockton-on-Tees. At this point, the cast relationship has plummeted to a low, props are not where they should be and being picked up by the wrong cast member and to top it off cues are being missed and people are on stage when they shouldn’t be. The actors try their best to cover up the mishaps but eventually the plot is abandoned, and the characters take a lead in ad-libbing towards some sort of end.
What I enjoyed about this show besides the wonderful talent was the separate acts as it not only helped in the telling of the story but also gave the cast a chance to show off their talents with which they did admirably.
For me, it was great to see Liza Goddard, Simon Shepherd, and Matthew Kelly with whom I have admired over the years and their performances were truly remarkable along with the rest of the superb cast of Dan Fredenburgh, Lisa Ambalavanar, Nikhita Lesler, Simon Coates, Lucy Robinson and Daniel Rainford.
The production also needs special thanks to Lindsay Posner the director, Simon Higlett for creating such an adaptable set, Gregory Clarke for sound and Paul Pyant for lighting.
Any show that starts with an announcement about phones not being invented yet is sure to be a good one. Set in 1989, Heathers tells of high school drama with love, friendships and murder thrown in for good measure.
Based on the film of the same name, the musical follows Veronica (Jenna Innes) as she goes from a nobody to a somebody thanks to getting the Heathers (Lizzie Emery, Elise Zavou and Billie Bowman) out of trouble with teacher Ms Fleming (Katie Paine). The Heathers take Veronica under their wing, give her a makeover and invite her to parties, however she has to earn her stay by forging notes in her classmates handwriting to embarrass others. After befriending the mysterious JD (Jacob Fowler), Veronica’s life goes from bad to worse when she accidentally kills Heather Chandler and football players Kurt and Ram (Alex Woodward and Morgan Jackson). Realising that JD is part of the problem, not the solution, Veronica ends the relationship and after JD sacrifices himself to save Veronica, she ends the feud between different groups at the school and remains friends with the two remaining Heathers, as well as making up with Martha (Kingsley Morton) who she helped the Heathers to bully despite being friends previously.
With catchy songs throughout, the musical caters to its audience well and will have people singing along. The costumes are era appropriate and the Heathers signature colours of red, green and yellow are shown in their outfits, along with Veronica’s signature blue outfit and JDs trench coat. The sets are basic but work, with scenes set in the high school, various characters’ bedrooms and the local convenience store all used to their full potential.
Even if you haven’t seen the film, this musical is well worth a visit for anyone looking for a good night out and will guarantee you have plenty of laughs along the way.
Birmingham Repertory Theatre – until 28th October 2023.
Reviewed by Emma Millward
5*****
Surprising as it may seem, there has never been a stage show about the life and career of Frank Sinatra. Two-Time Tony Award Winner Joe DiPietro (writer of Birmingham Rep’s hit show What’s New Pussycat) set out to change this, along with Sinatra’s youngest daughter Tina and Director/Choreographer Kathleen Marshall, Their writing team’s aim was to bring the story of Ol’ Blue Eyes to the stage and provide a never-before-seen look at his life, loves and the early days of his career. The show is currently getting its world premiere in the second city and Birmingham Rep really fits the bill as a classy setting for such a show.
The show begins with Frank’s (Matt Doyle) famous performance at the Paramount Theatre, New York on New Years Eve 1942. The show charts the early days of Frank’s relationship with Nancy (Phoebe Panaretos), the rise and fall of his fame, followed by his meteoric revival with Capitol Records. Following the success of the 1942 show, Frank heads off to Hollywood to make movies, and embarks on a series of illicit encounters with the biggest starlets of the era, Judy Garland (Frances Dee), Lana Turner (Lottie Power) and a deliciously camp Marlene Dietrich (Maddy Ambus). All played out in a clever musical number set in Frank’s ever occupied bed!
Frank meets his match with Ava Gardner (Ana Villafañe) and they begin an affair just as his fame is taking a downward spiral, due in no small part to his alleged Mafia connections and poorly received reviews of his movies. Frank’s friendship with his manager, George Evans (Carl Patrick),offers both hilarious and poignant moments. Frank’s parents, Dolly (Dawn Buckland) and Marty (Vincent Riotta) give a wonderfully comic turn, constantly reminding Frank of the Sinatra Family’s Italian immigrant roots.
Matt Doyle’s portrayal of Frank Sinatra is outstanding. Your eyes are naturally drawn to him throughout and his crooning vocals are spot on. He captures the Sinatra charm completely. For me, he’s one of the best leading men I’ve seen in recent years on stage. As an ensemble, the whole cast work perfectly together and are clearly having the time of their lives and it shows in their performances. The set design by Peter McKintosh is almost a character in itself, swiftly changing scene from a big music hall, to a restaurant or a bedroom. The sets are all beautifully designed and often lavish affairs. The bar where Frank sings a heartfelt duet of ‘One For My Baby’ with Billie Holiday (a pitch perfect performance by Ryesha Higgs) is a particularly beautiful set that really adds to the mood of the scene.
Sinatra and music go together like ‘a horse and carriage’ and with over 26 songs featured (in full or snippets) throughout the show, it definitely delivers. The 16 piece orchestra providing the music were often on stage and in this performance were skilfully conducted by Gareth Valentine. Judging by the continual murmurs of recognition and approval from the audience, it was obvious the perfect songs were selected from Frank’s extensive back catalogue.
I can see this show going from strength to strength, and in the words of Sinatra himself, “The Best Is Yet To Come”.
