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Festival Theatre, Edinburgh – until 17^th June 2023

 REVIEWED BY RACHEL FARRIER 

5*****

This Scottish Opera production of Bizet’s Carmen, sung in English and directed by John Fulljames, is innovative and captivating from the moment the curtain is raised – the set itself, and the framing of the tale as a murder investigation, lets the audience know the tragic ending from the outset. This is an audacious conceit, but one that works to brilliant effect. 

The Opera opens with a distinctly Glaswegian detective (played perfectly by Carmen Pieraccini) sifting through articles of evidence for the investigation into (spoiler alert) Carmen’s tragic death, as she interviews her prime suspect, Don José.  The entire Opera unfolds through this lens, with the detective effectively playing the role of a chorus as she stands to one side to observe the story unfolding, periodically asking probing questions and making observations that articulate those in the minds of the audience. The genius projection design by Will Duke and set design by Sarah Beaton,  sees the contents of the evidence table projected across the full back of the set throughout the show, and the story is revealed as much by the additions to the table, and their re-shuffling, as is provided by action and story-telling before us. 

The Lithuanian Soprano Justina Gringytė is a mesmerising Carmen, holding her surrounding characters and the audience spell-bound as she struts across the stage whilst seducing and abandoning a succession of men with a knowing frivolity and heartlessness that descends into a morbid certainty of her impending fate. The pairing of this Carmen with Phillip Rhodes’ Escamillo (the Toreador) is electric, and the power, intensity and effortless range of both voices is seen at its finest in their scenes together. 

Alok Kumar brilliantly portrays Don José as both a heart-broken wretch and (by modern standards) sinister obsessive and his voice has a richness of tone which belies the misery on his face. The ragged disbelief and intensity with which he tries to justify his actions in the face of the unsentimental questioning by the detective is by turns sympathetic and disturbing. 

The highly enjoyable 70s-styled pairing of Colin Murray as Dancaïre and Osian Wyn Bowen as Remendado brought some welcome light relief as the intensity and passion of the Opera mounted. It was, however, Hy-Yoon Lee as Micaëla, the spurned childhood sweetheart of Don José who managed to steal the show last night – although she has only brief scenes on stage, her soaring arias were a spine-tingling perfection which was rewarded with the loudest cheer of the night from the seemingly full-capacity audience at the curtain call. 

This is a sublime, clever and completely fresh production of Carmen, get along if you can get your hands on a ticket. 

Chichester Festival Theatre – until 24 June 2023

Reviewed by Lorna Hancock

5*****

Thirteen people have attempted to assassinate the US President, four succeeded. This gripping comedy musical with music and lyrics by Stephen Sondheim and book by John Weidman leads us on a journey through American history featuring nine of the assassins.

To be completely honest, I had no idea what to expect with this show, but it certainly didn’t disappoint. We were drawn into the fantasy as soon as we entered the building, we walked through and took our seats in a buzzing American convention. However the show rapidly took a very dark twist. The way the show is set is surprisingly effective taking a modern ‘CNN’ news slant at looking at historic events, and the direction switched between the two flawlessly. Whilst reflecting on the idea that the assassins were all linked by influencing each other, and following an alternative ‘American Dream’ to be part of history.

I studied American history at GCSE (quite some time ago now) and looking at these events through the assassins viewpoint was extremely thought-provoking and a very interesting take. 

As I have come to expect with productions at the festival theatre the ingenuity of the staging was extremely powerful. It would be hard not to be completely submerged in the action. The effects used during assassinations and executions were subtle but very effective in creating illusions without being offensive.

The portrayal of all of the assassins were marvellously done. To mention a few, Danny Mac played a believable yet strangely likeable John Wilkes Booth, that actually left me feeling sorry for him for a moment. Harry Hepple’s Charles Guiteau had a wonderful likeness to Ron Moody’s Fagin as a lighthearted, lovable rogue. Sam Oladeinde touched everyones hearts with a very compelling representation of Leon Czolgosz and Amy Booth-Steel was absolutely hilarious as Sara Jane Moore. All of the cast had very strong vocals, with some beautiful harmonies throughout effectively choreographed musical numbers.

It is difficult to explain the magical effect this performance had on it’s audience. Everyone appeared to be completely mesmerised by such an interesting perspective on American History, through the eyes of the assassins.

The Other Palace Studio – until 18 June 2023

4****

Reviewed by Claire Roderick

This fascinating new musical by Stephanie Martin and Calista Kazuko Georget shines a light on the passion, creativity and revolutionary spirit of six real women in Berlin between the wars.

The shifting tide of political and social tolerance, away from freedom and hedonism to much darker times, and the devastating effect on the lives of people who will never fit, or refuse to fit into “acceptable” norms, becomes ever starker as each character comes into focus for a brief snapshot of their life. Performed as a series of vignettes between songs, the musical has a wonderfully subversive cabaret atmosphere, as if the dreaded sound of jackboots and hammering on the door of the studio could come at any moment. We do not get to know each character well – and prior knowledge of these remarkable women is not really necessary (although you will probably be looking them up when you leave the theatre). Each actor has a title embroidered on their costume – the writer, the socialist etc – reinforcing the message that violence, suppression and prejudice was suffered by so many “undesirables” but never diminishing the lives of these women and their fates.

Rosie Yadid is brilliantly subversive and wild as dada Valeska Gert, Ashley Goh impresses as drag king Claire Waldoff, Danielle Steers is slick and powerful as madam Kitty Schmidt, Michal Horowicz has the least showy character, but portrays the political hope and fervour of Rosa Luxemburg impeccably. Maya Kristal Tenenbaum captures the pain of separation and fleeing her home beautifully as writer Gabrielle Tergit. Iz Hesketh was ill on press night, but the amazing superswing Charlotte Clitherow nailed the emotional impact of Anita Berber’s last song/dance, even on book. The cast’s ensemble work is great fun, with marvellous vocals and fantastic movement on this tiny stage.

Co-directors Rafaella Marcus and Karoline Gable have crafted a unique and timely show. Calista Kazuko Georget’s songs evoke a seedy cabaret in great style and Stephanie Martin’s book keeps the cabaret/ Weimar essence strong, with dialogue that could seem clunky in other productions completely on brand here. The racism and misogyny of Weimar Germany is shown through conversations with leather jacketed male characters, a wonderfully laconic encounter with Tergit’s mother and grandmother about marriage and children, and scenes with children playing that show the evolution of hate as they repeat and act out the words of their parents.

Fury and Elysium is an excitingly quirky and vibrant new musical with a powerful message – I can’t wait to see how it develops further

Royal Court Jerwood Theatre Downstairs – until 17th June 2023

Reviewed by Ben Jolly

5*****

The aptly titled, all of it was previously seen at the Royal Court back in February 2020, written by Alistair McDowall and starring Kate O’Flynn in the one woman play where we witness an entire life in 45 minutes; from birth to death, the story of baby to old lady (and everything in between… “Driving to work”) is presented to us in a highly stylised poetic form.

With the same title, the piece has been expanded upon with two more monologues that were written specifically for O’Flynn during 2020. Despite the fact that from first glance the three parts of the play do not feel connected in any way shape or form, there are subtle moments that with a keen eye and ear you can understand the connective narration tying the pieces together as one. As McDowall puts it, “Plays often emerge when you realise two things you’d thought separate are actually one and the same.”

The first poem of the night is Northleigh, 1940 and we open with an eerie, other worldly and yet strikingly beautiful sight, created by designer Merle Hensel and with lighting by Elliot Griggs. The opening feels like the playwright is parodying their own material with the heightened fantastical language that is largely attributed to their previous body of work, McDowall creates a sense of fear and thrill; and within the first two minutes we understand that the rule book has well and truly been thrown out of the window for tonight!

Kate O’Flynn hits the ground running in her solo venture. She performs with such command of the language and has the ability to grab the audience’s attention with just the slightest nuance. Her palatable presence parades the stage and she owns the night with her humour and raw delivery. O’Flynn is mesmerising.

We delve further into this naturally unnatural world with the even more off the wall piece, In Stereo in which, through the impressive use of video design by Lewis den Hertog and sound artist/composer Melanie Wilson create a completely disturbing and haunting universe. With an overindulgence of the senses, we at times don’t know where to look or which voice to tune into and thus are bombarded to the point of sheer frustration – a thrilling time indeed!

For the denouement, we come full circle and back to experience all of it. Vicky Featherstone has taken the helm to direct for the second time, succeeding Sam Pritchard who directed the first two poems of the night. There is an initial sense of discomfort with a complete change in set, lighting, sound and performance by O’Flynn, we’re in yet another world, another part of McDowall’s mind and we are taken on the journey of someone else’s lifetime.

It is here when the pieces of the puzzle come together and we start to see the bigger picture. It’s such a harrowing notion to conceive that a life can be summed up in a mere 45-minute monologue, and yet after this short time it feels as though we have known this woman her whole life. Can we all be summed up this simply and neatly? Are our lives really taken up so much with the mundane tasks…? “Driving to work”… I don’t believe that this is all McDowall is trying to say, but the third and final poem does bring up the question… is that all of it?

FLOWERS FOR MRS HARRIS

LONDON PREMIERE OF CRITICALLY ACCLAIMED MUSICAL TO PLAY AT RIVERSIDE STUDIOS THIS AUTUMN

WITH JENNA RUSSELL AS ‘MRS HARRIS’

30 SEPTEMBER – 26 NOVEMBER
TICKETS ON SALE NOW HERE

Olivier-Award winning stage legend Jenna Russell will star as ‘Ada Harris’ in the London premiere of the musical FLOWERS FOR MRS HARRIS this autumn, directed by Bronagh Lagan (Cruise – West End, Rags – Park Theatre, Little Women – Hope Mill Theatre) playing a limited 9-week at the Riverside Studios from 30 September to 26 November, with a press night on 5 October.

Based on the novel by Paul Gallico and adapted for the stage by Richard Taylor (The Go-Between) and Rachel Wagstaff (The Mirror Crack’d), Flowers for Mrs Harris is a celebration of kindness, friendship and carrying on in the face of grief.  This will be the first London production of the critically acclaimed musical since its premiere in Sheffield in 2016, which was followed by a highly successful run at the Chichester Festival Theatre.

For Ada Harris, day-to-day life is spent cleaning houses. But one day when she is working for a wealthy client in Belgravia, she happens upon a Dior dress that takes her breath away.

In that magical moment, Ada has an epiphany and sets off on a journey that will change her life… From the cobbled streets of post-war London to the magical avenues of Paris and beyond, Ada transforms the lives of everyone she meets along the way, but can she let go of her past and finally let her own life blossom?

Producer Ollie Hancock said, “Never before have I seen something on stage which has moved me with such force and relentless power. Richard and Rachel’s beautiful writing had such a profound effect on me that I left the theatre tear-streaked, striving to be a better person and to produce work which was just as impactful. I’m delighted to be bringing this gorgeous musical about the power of kindness to London for the first time in the creative hub that is Riverside Studios, especially with theatrical royalty Jenna Russell, who has wowed audiences on both sides of the Atlantic, in this extraordinary British musical!”

Jenna Russell said, “Ada Harris is a dream role in an exceptional piece by Rachel Wagstaff and Richard Taylor. I’m thrilled to be part of this amazing team, bringing “Flowers For Mrs Harris” to the Riverside Studios. Reading the play had a profound effect on me, and I can’t wait to see how that translates to a live experience, for the actors and audience alike.”

Jenna Russell’s extensive stage credits include, ‘Mill’ in Further Than The Furthest Thing at the Young Vic, ‘Susan’ in Woman In Mind at Chichester Festival Theatre, ‘Marie Lloyd’ in Marie, Marie, Hold On Tight at Wilton’s Music Hall, ‘Carrie’ in Steve at Seven Dials Playhouse, ‘Piaf’ in Piaf at Nottingham Playhouse and Leeds Playhouse, Celebrating Sondheim at Chichester Festival Theatre, ‘Susan’ in Title Of Show (filmed at London Coliseum and streamed), ‘Francesca’ in The Bridges of Madison County at the Menier Chocolate Factory, ‘Helen’ in Fun Home at the Young Vic, ‘Mephistopheles’ in Dr Faustus starring opposite Kit Harington at The Duke of York’s Theatre and ‘Little Edie’ in Grey Gardens at Southwark Theatre with Sheila Hancock. Jenna’s TV credits include: Gentleman Jack, Midsomer Murders, Call the Midwife, The Paradise, Holby City and Doctor Who. Jenna also played the leading roles of ‘Michelle Fowler’ in Eastenders, ‘Deborah’ in Born and Bred (4 series), ‘Maggie’ in On The Up (3 series), ‘Bernadette’ in Picking Up The Pieces (1 series) and ‘Petra’ in Minder (1 series). Films include The Death and Life of John F Donovan and Mortdecai. Jenna also sings the theme tune for BBC cult TV series Red Dwarf.

Bronagh Lagan’s Olivier nominated production of Cruise by Jack Holden was the first new play to open the West End after the pandemic. Cruise returned to the West End last year for a sold out run at the Apollo Theatre. She also directed a film version of the show in Shoreditch Town Hall’s Ditch which won an ONCOMM award for Best Recorded Show. Bronagh’s production of Rags, the musical by Charles Strouse and Stephen Schwartz at the Park Theatre received nine Off-West End Award nominations, including Best Director and Best Production. Bronagh worked closely with Stephen Schwartz in reimagining the script for an actor-musician production and curated a cast album of her production of Rags which is available on iTunes and Spotify. Bronagh directed the world premiere of Broken Wings, the musical first performed at Theatre Royal Haymarket and then at Dubai Opera House and now is on a Middle Eastern Tour. She directed new Persian musical RUMI at the ENO starring Ramin Karimloo; the UK Regional touring production of The Rise and Fall of Little Voice starring Christina Bianco; and  the European premiere of Little Women – The Musical, which is available on Broadway HD. Bronagh recently directed the world premiere of A-Typical Rainbow which was nominated for a Visionary Arts Award and Animal by Jon Bradfield which recently ended a run at the Park Theatre and has received 5 Off West End nominations.

Flowers for Mrs Harris is based on the novel by Paul Gallico, a musical by Richard Taylor and Rachel Wagstaff, book by Rachel Wagstaff, music and lyrics by Richard Taylor. It will be directed by Bronagh Lagan, with new orchestrations by Jason Carr, and with Jonathan Gill as Musical Director. Casting is by Jane Deitch. Further casting and creative team will be announced.

Flowers for Mrs Harris is presented by arrangement with Concord Theatricals.

www.concordtheatricals.co.uk

STEVEN PINDER RETURNS TO ‘WICKED’

Actor will be London’s ‘Doctor Dillamond’ from 24 October 2023

Simeon Truby to join UK & Ireland Tour

www.WickedTheMusical.co.uk

WICKED, the West End and Broadway musical phenomenon that tells the incredible untold story of the Witches of Oz, today announces the return of Steven Pinder as ‘Doctor Dillamond’ from Tuesday 24 October 2023 at London’s Apollo Victoria Theatre. The current ‘Doctor Dillamond’, Simeon Truby, will play his final performance on Sunday 22 October 2023 ahead of joining the forthcoming UK & Ireland Tour in the roles of ‘Doctor Dillamond’ and ‘The Wizard’, alongside the previously announced former West End cast members Laura Pick (Elphaba) and Carl Man (Fiyero).

Steven Pinder returns to the London production having previously played ‘Doctor Dillamond’ in 2015.Best known for his award-winning performance as‘Max Farnham’ in Phil Redmond’s Brookside,a role he playedfrom 1990 until the final episode in 2003, and ‘Roy Lambert’ in Crossroads, from 1985 to 1988,Stevenhas also worked extensively on stage, including recent appearances in Bill Bryson’s Notes from a Small Island and Ray Cooney’s comedies Funny Money and Two Into One. He previously played ‘Doctor Dillamond’ and ‘The Wizard’ in Wicked in the UK & Ireland and International Tours.

“One of the most successful musicals of all time” (BBC News), Wicked is already the 12^th longest running production in West End history and the winner of over 100 awards, including three Tony Awards, two Olivier Awards, eleven WhatsOnStage Awards, and a Grammy.

Wicked currently stars Alexia Khadime (Elphaba), Lucy St. Louis (Glinda), Ryan Reid (Fiyero), Sophie-Louise Dann (Madame Morrible), Mark Curry (The Wizard), Caitlin Anderson (Nessarose), Joe Thompson-Oubari (Boq), Simeon Truby* (Doctor Dillamond), Amy Webb (Standby for Elphaba), Lisa-Anne Wood (Standby for Glinda), Yuki Abe, Kofi Aidoo-Appiah, Conor Ashman, Jessica Aubrey, Joshua Clemetson, Fergus Dale, Effie Rae Dyson, Nicola Espallardo, Danny Fogarty, Ross Harmon, Kate Leiper, Nick Len, Jemima Loddy, Joshua Lovell, PaddyJoe Martin, Millie Mayhew, Harry Mills, Daniel Parrott, Aiesha Naomi Pease, Jeanie Ryan, Natalie Spriggs, James Titchener, Micaela Todd, Christine Tucker, Jaydon Vijn, and Taela Yeomans-Brown.

*Final performance Sunday 22 October 2023. Steven Pinder plays ‘Doctor Dillamond’ from Tuesday 24 October 2023.

Whilst continuing its West End run, Wicked will open a UK & Ireland Tour at the Edinburgh Playhouse on 7 December 2023, and then travel to Bristol Hippodrome, Birmingham Hippodrome, Bradford Alhambra Theatre, Southampton Mayflower Theatre, Liverpool Empire, Dublin Bord Gáis Energy Theatre, Sunderland Empire, Cardiff Wales Millennium Centre, and Manchester Palace Theatre.

Stephen Schwartz and Winnie Holzman’s musical is based on the novel by Gregory Maguire and imagines a beguiling backstory and future possibilities to the lives of L. Frank Baum’s beloved characters from The Wonderful Wizard of Oz, revealing the decisions and events that shape the destinies of two unlikely university friends on their journey to becoming Glinda The Good and the Wicked Witch of the West.

Wicked has music and lyrics by multi-Oscar and Grammy Award winner Stephen Schwartz (Godspell, Pippin, The Prince of Egypt, Disney’s Pocahontas, The Hunchback of Notre Dame and Enchanted). It is based on the multimillion-copy best-selling novel Wicked: The Life and Times of the Wicked Witch of the West by Gregory Maguire and written by Emmy and Tony Award nominee Winnie Holzman (creator of the landmark American television series My So-Called Life). Musical staging is by Tony Award-winner Wayne Cilento with direction by two-time Tony Award-winner Joe Mantello.

Wicked is produced by Marc Platt, Universal Stage Productions, The Araca Group, Jon B Platt, and David Stone. Executive Producer (UK) Michael McCabe.

The Apollo Victoria Theatre, Wilton Road, London, SW1V 1LG

Official UK website: www.WickedTheMusical.co.uk

Twitter: @WickedUK  |  Facebook: /WickedUK  | 

JEFF WAYNE’S MUSICAL VERSION OF ‘THE WAR OF THE WORLDS’

THE IMMERSIVE EXPERIENCE 2

AS HE CELEBRATES THE 45^TH ANNIVERSARY OF HIS MUSICAL VERSION OF THE WAR OF THE WORLDS, JEFF WAYNE ANNOUNCES THAT THE MULTI-AWARD-WINNING IMMERSIVE SENSATION IS TO RELOCATE WITH GROUND-BREAKING NEW PRODUCTION

NEW COLLABORATIONS TO COME WITH VENUE OPERATORS AND
CUTTING-EDGE AI, VR AND AR DEVELOPERS

Today, Friday 9 June, marks the 45^th anniversary of Jeff Wayne’s Musical Version of The War of The Worlds, one of the best-selling albums of all time. In tandem, Composer and Producer Jeff Wayne announces that the multi-award-winning immersive experience, described as ‘boundary pushing, pulse quickening’ and ‘the future of entertainment’ will be relocating to a bigger location in London and feature the newest cutting-edge technology.

Jeff Wayne’s Musical Version of The War of The Worlds – The Immersive Experience opened its doors on 16 May 2019 at London’s former Metal Exchange on Leadenhall Street.

Set in 21 rooms over two floors, the current production features a unique blend of immersive theatre with a diverse cast of 12, plus projection mapping surround sound, multiple virtual reality sequences, and 5D effects, all set to Jeff’s iconic score.

Featuring the recorded voices of Moody Blues’ Justin Hayward, Inglorious’ Nathan James and Kaiser Chief’s Ricky Wilson as well as digital and holographic performances by Carrie Hope Fletcher (Les Miserables, Heathers, and The War of The Words – Alive!), Tom Brittney (Grantchester, Make Me Famous) and Anna Marie-Wayne (The War of The Worlds – Alive! & Audible’s The Musical Drama.)

In the new production, visitors will interactwithfamiliar characters from Jeff’s Musical Version as they visit the Royal Observatory; sneak into what they believe to be a deserted house (but is it…?); escape London on a boat down the Thames while trying to survive the Martian invaders, culminating in a breath-taking balloon journey to Mars.

The current experience has grossed more than 8m to date and willremain at its existing location until December 2023 as work continues on the new production.

Jeff commented: “When we first opened our Immersive Experience, it was only booked for a 3-month run, yet great reviews, multiple awards, word-of-mouth attendances by existing and new fans have been so taken by it, here we are over four years later, and still going strong!

Since we launched in 2019, London has seen so many new diverse and high-quality immersive experiences, whether theatrical gems such as Peaky Blinders, Secret Cinema,Guys and Dolls, or Punchdrunk productions, plus art exhibitions like Frameless, Van Gogh and Hockney at the LightRoom, or social play spaces including Monopoly Lifesized and the holographic success ofAbba Voyage.

AI, VR and AR technologies in the entertainment space, have grown substantially in the last five years (including Apple’s just announced debut headset), and we intend to continue being at the forefront of this new era.

We’re mostexcited to collaborate with the hottest specialist companies, immersive producers and venue owners, to continue to stun our audiences.”

The War of The Worlds: The ImmersiveExperience has also achieved widespread critical acclaim, winning the prestigious TEA THEA Award, considered the “Oscars” of the Entertainment world, the Gold Winners Award for Best Innovation, the Youth Travel Awards 2019, TripAdvisor’s coveted Traveller’s Choice Award two years running in 2021 and 2022, has averaged 5–stars out of 5 on TripAdvisor andover 10,000 5-star reviews across review sites.

Jeff also expressed his appreciation to Layered Reality for playing a pivotal role in the original production. “We’d like to thank our partners for the past 5 years, and wish them ongoing success.”

London Coliseum – until 27 August 2023

Reviewed by Alec Legg

5*****

I must admit to being a fan of Queen from years back, and I really looked forward to seeing this version of ‘We Will Rock You‘ in its new incarnation. As I never saw the original I took along my friend Keith who did see the original some twenty or so years ago.

Taking our seats I saw that the audience was of all ages from senior citizens to youngsters. I did wonder what their reactions would be In the end the reaction from all ages was the same!

Firstly the sets were outstanding being a combination of the physical scenery and the lighting engineers work at their best. Each change of scenery was a marvel and a wonder to see. I think that , compared to all the shows I have seen in the past these sets took the biscuit and I would not be surprised to see awards for set design and lighting being handed out in the future!

I was told by my friend that the plot of the story was nothing like the original, being completely like a new show. So all you people out there who saw the original you must not be put off from seeing this version. I think that the Queen’s music is the only part of the show that will be recognisable but of course does this matter as the enduring magic of their music will last forever!

As to the plot the story line goes that Earth has been renamed the I-Planet and is under the control of the Killer Queen, Brenda Edwards, through her corporation, Global Soft. The only music allowed to be broadcast is that approved by them and all the worlds inhabitants have i-phones through which Global soft broadcasts.

There is a small resistance party, rebelling against Global Soft called the Bohemians, led by Ben Elton as the Rebel Leader, who are being hunted down by the agents of Global Soft. The two lead characters are Galileo, Ian McIntosh, and Scaramouche, Elena Skye, who are about to leave Gaga High school and are set apart from their fellow students by their confused and rebellious natures. The storyline is then about them trying to escape from the clutches of Global Soft and join the resistance. Ben Elton’s performance as the rebel leader must be mentioned as a tour de force!

As you would expect the music of Queen is interspersed throughout the performance and the music and songs were marvellously performed. As I said I wondered what the audience reaction would be and I can say that it was rapturous. Each song was applauded wonderfully the audience enjoying every minute. Due credit must be given to all the cast for their dancing and singing performances which were par excellence from the leads to the ensemble.

I would like to describe the ending of the play but not wishing to add a spoiler there is a wonderful surprise at the end which I am sure will be enjoyed by all.

I must relate that Sir Brian May made an appearance at the end of the show to applause which nearly lifted the roof off the theatre and. I have never heard the like before. I have now been telling all my friends, ad-nauseum, that I saw Sir Brian May LIVE!

For all you Queen fans out there and anyone else this is a must to see.

I would like to dedicate this review to the memory of Freddy Mercury, RIP, your music lives on as does our love and respect.

Forum Theatre, Malvern – 7th June 2023

Reviewed by Courie Amado Juneau

5*****

The history of popular music would not have been the same, nor anywhere near as good, without the records coming out of Sun Records. Although owner Sam Phillips had been recording artists for years, it was the arrival of Elvis that catapulted his little studio to legendary status! And so it was fitting to start with that first side (“My Happiness”) by the young Elvis; Michael Glaysher bringing The Hillbilly Cat to life. Close your eyes and you could almost believe those rumours he’s still alive.

Elvis temporarily leaves the stage and up steps Remi Banklyn (playing various roles), harmonica in hand, to show us that Sun Records wasn’t all about Rock N Roll. It also introduced tonight’s house band – nominally playing Elvis’s original band; Scotty Moore (Gerry Slattery on guitar) and Bill Black (Jason King on bass).

From hereon the musicians remain on the stage, producing a larger ensemble. A cleverly put together show, giving us the personnel needed for each new artist’s repertoire rather than following a chronological path. And so to our next legends; Pete Storm doing a marvelous Johnny Cash with “Big River” and “I Walk The Line” then Ricky Gould as Carl Perkins; one of those artists whose works are best known via other artists covering his songs (i.e. The Beatles doing “Matchbox” or Elvis doing “Blue Suede Shoes”. It was great to hear these classics done in the original style.

The performers mingled with the audience after the show. A really nice bunch of chaps. I was assured the names of the performers was on the website. Unfortunately, I couldn’t find anything for who played Jerry Lee Lewis or DJ Fontana! Which is a real shame as I wanted to especially mention the young lad who played Jerry Lee – he was exceptional! Worth seeing the concert for his take on “The Killer” alone. It must be a fun part to play – it sure was fun to watch – and remarkably accurate too! Tonight’s drummer was brilliant throughout and gave one of the best drum solos I’ve ever seen.

The second half was the concert that never was but we wished had happened. Billed as The Sun Records Legacy, it highlighted tons of songs these stars recorded post Sun Records such as “Tiger Man”, “Pretty Woman”, “Ring Of Fire”… You get the idea – a Rock N Roll jukebox, packed with solid gold hits played with exuberance. The last song typified the evening, with a blistering version of Elvis’s “Rip It Up”. Many of the audience were spinning in the aisles, others with hands sore from clapping and everyone loving the show. The performers giving us all the excitement of those early days of Rock.

I cannot recommend this show highly enough. It’s a feel good show that will appeal to lovers of any (and all) of the individual artists, music lovers in general or anyone just looking to have a fun night out. It began with “My Happiness” and ended with all our mutual happiness. Musical joy incarnate!

Comedy is easy.

Marriage is hard.

TWO ICONS. THREE COUPLES. ONE PERFECT EVENING OF COMEDY.

TWO-TIME TONY AWARD^® WINNER & TWO-TIME EMMY AWARD^® WINNER

MATTHEW BRODERICK                  SARAH JESSICA PARKER

TO STAR IN

NEIL SIMON’S
HIT COMEDY
PLAZA SUITE

DIRECTED BY TONY AWARD WINNER
JOHN BENJAMIN HICKEY
AT THE

SAVOY THEATRE
FOR A STRICTLY LIMITED SEASON FROM
15 JANUARY TO 31 MARCH 2024

PRODUCTION TO MARK SARAH JESSICA PARKER’S LONG-AWAITED WEST END DEBUT

TICKETS GO ON SALE SEPTEMBER 2023

Following a sell-out Broadway run, ATG Productions are delighted to announce that two-time Tony Award^® winner Matthew Broderick and two-time Emmy Award^® winner Sarah Jessica Parker, will lead the cast in the West End transfer of Neil Simon’s hit comedy PLAZA SUITE. Directed by Tony Award^® winner John Benjamin Hickey, PLAZA SUITE will play a strictly limited season at the Savoy Theatre from 15 January to 31 March 2024 with tickets on sale in September 2023. Sign up for access to tickets before anyone else at plazasuiteuk.com

Matthew Broderick returns to the West End stage following his acclaimed run in The Starry Messenger in 2019. PLAZA SUITE will mark Sarah Jessica Parker’s West End debut.

In New York, PLAZA SUITE became the must-have ticket for Broadway audiences. The production played to sold-out houses and shattered multiple box-office records at the Hudson Theatre, becoming the third-highest grossing play revival in Broadway history during its limited 19-week engagement.

In PLAZA SUITE, these two world-class actors play three different couples in one famous hotel room. Matthew Broderick plays Sam Nash/Jesse Kiplinger/Roy Hubley and Sarah Jessica Parker plays Karen Nash/Muriel Tate/Norma Hubley.

Karen and Sam are a long-married pair whose relationship may be headed for an early checkout. Muriel and Jesse are former high school sweethearts who seem destined for an extended stay. And Norma and Roy are the mother and father of the bride, ready to celebrate their daughter’s nuptials – if only they can get her out of the bathroom.

The creative team includes two-time Tony Award^® winner John Lee Beatty (set design), Tony Award^® winner Jane Greenwood (costume design), five-time Tony Award^® winner Brian MacDevitt (lighting design), Tony Award^® winner Scott Lehrer (sound design), Tony Award^® winner Marc Shaiman (incidental music), and Jim Carnahan (casting director).

PLAZA SUITE is produced by Ambassador Theatre Group Productions, Gavin Kalin Productions, Hal Luftig, with James L. Nederlander, Douglas L. Meyer, Elizabeth Armstrong, Hunter Arnold, Caitlin Clements, Eilene Davidson Productions, Jeffrey Finn, Terry Schnuck, Smith and Brant Theatricals, Sherry and Kirk Wright, and Mike Isaacson.