James Rowland Dies at the End of the Show Review

Theatr Clwyd,Yr Wyddgrug/Mold – Saturday 14th September 2024

Reviewed by Julie Noller

5*****

Theatr Clwyd is on course to change it’s whole future, the massive refurbishment is slowly taking place brick by brick and has led to utilising differing theatre setups, mostly under canvas which quite often gives us a festival feel; more relaxed and intimate shows.

Last year I went along to watch a performance of a young man following a successful Edinburgh Fringe; well I laughed, I also felt this man reads people, knows them, watches them and that story well I listened, actually felt like I was there. This year The Mix has departed the hillside outside and instead the chairs are lined up in the bar area (which is also under canvas) I blinked shaking my head no I was not attending a wedding. I didn’t hesitate to attend Part 3 of what feels like James Rowlands Friendship trilogy, this man is a modern day bard; he uses his skills perfectly, fabulous story teller, combining music, words and his knowledge of people.

I nudged my husband as James does what James does, begins before his actual performance time, bimbling into the room looking like a stage assistant; I’m convinced he is actually checking out his audience, are we distracted,nervously glancing around or at phones? He engages people with a simple act a smile keeping up eye contact; he is a man full of confidence but content with a simple way of just being. He leaves again presumably to get changed out of stage assistant gear.

The lights dim and swing a little as the wind whips up outside, but this ambience is perfect a minor distraction but I’m warm inside and as comfortable as if I’m sat in a pub with friends. When James appears there’s sniggering,it’s not a surprise I’ve seen the publicity shots but I giggle as he strolls onto the stage in hospital gown and we all know hospital gowns gape in the rear (I wont spoil things but the seam of those flesh tights ran somewhere it shouldn’t) . He chats easing into things, sensing how we are, will we interact, how many of us have been to a show of his before, mine were not the only hands to proudly show I’m a fan. He draws our attention to the clock sat on the table, set at 70.00. He tells us it’s the countdown to the end, he pushes the button and you turn your attention back to James.

Tonights story once again takes us back into childhood, stories of Robin Hood images of Disney foxes and ladybird books fill my head followed by swashbuckling heroes with curved moustaches and sword fights (my head screams please don’t play a certain song when arrows split in 2 thankfully I hope only I heard brief notes of Everything I Do.) Wearing a hospital gown allows us the audience to think, hospital, operation, something is wrong, worry, dread and fear usually follow. For James I’m sure it’s so that he can set up a dance scene between Robin Hood and Maid Marian whom James believes were great childhood friends destined to be together.

The story then departs knocking us off-kilter tales of swimming in waterfalls, ripples in the water almost reflecting ripples in time; red kites fighting back from the edge of extinction and Voyager sending back a blue dot – earth billions of miles away, tiny spec within the universe. Voyager’s golden disc our very own ultimate mixed tape for the universe, Bach and Beethovan being favoured over others. Suddenly you realise how the stories including those no longer critically endagered red kites all interlink it’s love; the 2 scientists working on the golden disc project fell in love. I’m aware equally that James is glancing at the clock more often, I feel anxious as I see the clock moving at what feels a faster pace. My stomach churns as I realise time is getting closer to the end (please don’t die James) But wait; imagination, storytelling is often viewed with rose tinted glasses and here comes James with 6 minutes left on the clock to let us know how he loves life but let’s be realistic Robin Hood was part of the Crusades (Knights, Kings, Christianity) history tells us was a brutal era. Well those 2 scientists were in fact married destroying futures for 2 families. And then the finale Voyagers music is played loud, James encourages us to close our eyes for natures blackout, a reset and when we open our eyes James is gone, the clock at zero and our night is over.

We have 5 senses; what we see and hear more than often shapes our beliefs and actions. Quite often there is another side to the coin and James wants us to open our eyes and see, I pick up my glass and raise a toast to the bard of the fringe and sincerely hope that there is more to come.

Awful Aunty Review

Aylesbury Waterside Theatre – until Sunday 22nd September 2024

Reviewed by Rachel Clark

4****

What a great show for kids and big kids (adults). This show is brought to Aylesbury by the Birmingham Stage Group. The Show is an adaption of David Walliams book of the same name Awful Aunty. It is like you have started reading the book and jumped into it coming alive with the characters. The theatre had plenty of excited children that couldn’t wait to see the show and they weren’t disappointed.

Stella Saxby lived at Saxby Hall with her parents and Aunt Alberta, until a tragic accident, when Stella parents are killed leaving Stella in a coma with lots of broken bones – or are they broken? Has naughty Aunt been lying! Would she do such a thing?

Stella Saxby played brilliantly by Annie Cordoni comes round from the coma and meets Soot a ghost played by Matthew Allen and they start to play detectives. My Grandson aged 6 said Soot was his favourite character as he was funny and let out regular farts !!.

Aunt Alberta played superbly by Neil Foster has a pet Owl – Wagner who is a puppet and as the show progress’s you will see other puppets which were a great surprise to the audience as not what we expected, these were executed very well. Wagner is on Aunt’s side ensuring that Stella doesn’t escape. Wagner’s puppeteer was Emily Essery who whizzed around the stage set, flying the owl round.

The stage set was simple but so effective and very well managed and a was regularly changed by the funny butler Gibbon (Zian Abrahams) – who staggered around the stage and was very forgetful, he brought laughter to the show. There was also plenty of giggles and laughter when Soot and Stella play a few tricks on the Awful Aunt. Well worth a visit to this refreshing show with the great sense of humour from the book.

The Ballad of Mulan Review

Theatr Clwyd, Yr Wyddgrug/Mold – 17th September 2024

Reviewed by Julie Noller

5*****

I really enjoy theatre trips, I love to watch how people are acting around me and how they change as a story progresses. Smaller shows are always my favourite because you can fully appreciate, one person may well be performer, stylist, designer; not to mention roadie and even writer. For these very reasons Michelle Yim deserves a standing ovation! For an hour she delivered her monologue, never faltering, constantly looking a little vacant as if lost in thought remembering a past too painful to remember.

The Ballad of Mulan originated possibly as far back as the 5th century, sometimes referred to as a folk song or poem, like any art form it can be interpreted in countless ways and retold many many times over the years. It is an anonymous tale that remains undated which will always bring the statement is it fact or fiction? Mention Mulan and you instantly think of a Disney Princess but reality is often far from a cartoon aimed at bringing joy to both young and old.

Mulan appears on stage with its simple yet effective set a heavy wooden chair, battle ready spear and sword, noodle bowl and drink, giving the impression of now General Mulan having risen the ranks and after 10 long battle weary years being billeted alone in her own quarters. The scars on her face, the heavy catnap filled with dreams of war some would say PTSD scars stand matter-of-factly as a byproduct something to just live with. This is a true retelling of war, there’s no images on screen only the ones you see inside your own head but the impact is clear in the dog eat dog, someone must survive and as Mulan cries “I want to live” her survival instinct is incredible this one could say is a strong, empowered woman, driven by her desire to be something more than a female born to marry, have children and sew. Growing up she loved to hunt ‘when you see a rabbits eyes is it the buck or doe, how do you know?’ climbing trees, being dressed as a boy her Mother believed punishment yet unwittingly she potentially unleashed her daughters strengths and forged a plan Mulan would use to save her family from ruin as her elderly sick Father was called to war.

Mulan slots into the army learning quickly as she knows she has to, believed young and naive her fellow recruits to the ranks are too concerned with their own futures or lack of a future to even contemplate he may actually be a she. Mulan fights not only against an enemy who looks as bewildered as she does but she fights against a culture that does not allow, not just her but a woman or even a man to go against what is expected.

So we join General Mulan as she looks back over a life short in years maybe but a lifetime lived on a battlefield. 10 years have passed and this is now her last battle, what will happen next? Return to her family? Yet she doesn’t want children, she is comfortable living as a soldier as a man. But she is weary missing her family and fearful they believe her long dead and so she eats her last messy meal of noodles and drinks a little too much drink to steady the nerves. Now she’s ready for her future and the lights on this story go dark.

Michelle Yim as Mulan is indeed a woman, a warrior and a legend. I must also add I am full of respect for Michelle who thanked us all as family for joining her on the night of the Harvest Moon and greeted each and every one of us at the exit for photos and hand shakes and high praise even hugging the little girl who was scared by tales of killings but what an ending to understand at an early age, tales and stories can alter and an actor is just playing a part even if you become totally immersed.

My English Persian Kitchen review

Soho Theatre, London – until 5 October 2024

Reviewed by Claire Roderick

3***

The mouthwatering premise of My English Persian Kitchen doesn’t quite deliver, but Chris White’s direction of Hannah Khalil’s play has admirable ambition.

Based on Atoosa Sepehr’s original story, Isabella Nefar plays an Iranian woman who has fled her country and struggled to feel seen and part of a community in London. As Nefar chops and prepares the ingredients for Ash-E Reshteh (Persian noodle and herb soup) for her dinner guests, the scents and tastes evoke memories, good and bad, and she begins to reveal snippets of her life and escape from her abusive husband. Isabella Nefar’s wonderful physicality and bravura performance draws the audience in effortlessly.

The structure of the play creates fractured recollections, with certain memories too painful for the character to reveal to her audience. As the comforting aromas of frying onions and herbs fill the theatre, these memories swirl in the air, creating an oppressive atmosphere contrasting with the homely cooking tips and cheats Nefar shares with us. Marty Langthorne’s inspired lighting and Dan Balfour’s sound design enhance this tense atmosphere brilliantly. Unfortunately, the story doesn’t really evolve, instead reheating memories already shared. Even though reliving and analysing these traumatic memories that have had a devastating effect on her life is a realistic response for the character and accurately portrays an isolated life lived in fear, the short running time means the jump from unresolved trauma to happily dishing out food to the audience at the end of the play seems too abrupt. There is a lovely section about the gorgeous aromas from her flat providing an impetus for her neighbours to move past polite indifference to real connections, and the joy, peace and meaning that cooking provides, but without a little more information about her life, it almost feels like a mask rather than true emotion.

The run at Soho Theatre is sold out (contact theatre for returns) and it is easy to see why as this unusual and evocative play is a real feast for the senses.

Pirates of Penzance – Announced UK tour on International ‘Talk like a Pirate’ Day!

PIRATES (PENZANCE) LTD

IN ASSOCIATION WITH TARANTARA PRODUCTIONS PRESENTS

 LIMITED UK TOUR

 Directed by Glyndebourne favourite Donna Stirrup

 Conducted by BBC Radio 3 presenter Martin Handley

19 September 2024 – As the UK celebrates national ‘Speak Like a Pirate Day’ Tarantara Productions are delighted to announce that their limited UK tour of Gilbert and Sullivan’s witty and touching masterpiece The Pirates of Penzance will open on 09 January 2025 at Chichester Festival Theatre, touring until mid February.

The much-loved swashbuckling classic will be directed by Glyndebourne favourite Donna Stirrup and conducted by popular BBC Radio 3 presenter Martin Handley.  The fifty strong company of internationally renowned singers and orchestra will bring to life the story of a pirate’s apprentice who falls head over heels in love with the daughter of a Major General with hilarious consequences.  This production will let Gilbert and Sullivan to speak as richly as they intended.

The tour will visit Chichester Festival Theatre, Darlington Hippodrome, Swansea Grand, Cheltenham Everyman Theatre, Eastbourne Congress Theatre and Poole Lighthouse Theatre.

Nearly 150 years after first playing in New York City, The Pirates of Penzance remains one of Gilbert and Sullivan’s most popular works. It contains some of their most memorable melodies including ‘I am the Very Model of a Modern Major General’ ,‘A Policeman’s Lot is Not a Happy One’  and ‘Poor wand’ring one’ remaining one of the most frequently performed Gilbert and Sullivan operas.

Praise for Tarantara:

“The action moves quickly and all parts are played slickly and with excellent comic timing” Brighton Argus

“The orchestral playing is excellent… The timing is faultless… I can assure you that are you in good hands with the Tarantara team” London Theatre 1

The Pirates of Penzance is Presented by Tarantara Productions a professional company established in 2014 to perform the operettas of Gilbert and Sullivan to the highest standards. Tarantara’s performances reject the outdated stylised conventions of the past but without embracing those modern ‘updatings’ of this glorious repertoire which, in attempting to reinvent the genre, do not do justice to the essence of what are a set of core works within the English speaking music theatre repertoire.

Conductor and Joint Founder of Tarantara Martin Handley said;

”Gilbert and Sullivan have had a bad Press! Over the 150 years since they were first performed with Gilbert’s structure, precision and flair the operettas’ have taken on a very formulaic feel to the way in which the music is performed and staged, removing the humanity from operettas that are in the end about real human emotions in stories which are still funny, pertinent, satirical and touching. If you scrape off the additional layers of varnish that have accrued, we believe they come up bright and new. It’s amazing how little you have to do to make these pieces work – if you trust the material, it shines through.

These are core works within the English-speaking music theatre repertoire: our productions seek to do them justice by rejecting the outdated stylised conventions of the past, cherishing their essence while reinventing them for the 21st century, in other words we hope to put a fresh gloss on tradition, and restore Gilbert and Sullivan’s original intentions.

We aim to do just this, building an audience for the future, as well as captivating existing fans of this repertoire, performing the music in as vibrant and true a way as possible with the highest calibre of singer, and with the size of orchestra Sullivan envisaged”. 

Jump aboard for a joyful pirate adventure which will bring Gilbert and Sullivan’s popular masterpiece back to life for new audiences and fans alike. 

For more information follow us on Facebook and Instagram @piratespenzanceshow or visit www.piratespenzanceshow.co.uk 

SMASH-HIT DOLLY PARTON MUSICAL COMEDY, HERE YOU COME AGAIN, ANNOUNCES A JOLLY DOLLY CHRISTMAS SEASON IN LONDON AND TOUR EXTENSION

A Simon Friend Entertainment and Leeds Playhouse co-production

SMASH-HIT DOLLY PARTON MUSICAL COMEDY

 HERE YOU COME AGAIN ANNOUNCES A

JOLLY DOLLY CHRISTMAS SEASON IN LONDON

 AND TOUR EXTENSION

LIMITED FESTIVE RUN PLAYS AT RIVERSIDE STUDIOS AHEAD OF ADDITIONAL UK TOUR DATES

FOR THE FIRST TIME ALL OF DOLLY PARTON’S BIGGEST HITS CAN BE EXPERIENCED TOGETHER IN A ROLLICKING AND JOYOUS MUSICAL COMEDY!

www.hereyoucomeagain.co.uk

Simon Friend Entertainment and Leeds Playhouse are today delighted to announce that, Here You Come Again – which is currently spreading joy across the country on a UK tour – today confirms a limited festive season at Riverside Studios, Hammersmith where the heartwarming show is set to be a perfect winter tonic from Tuesday 10th December to Saturday 18th January. Tickets are on sale now at www.hereyoucomeagain.co.uk

The tour then resumes with the addition of new 2025 dates including: Grand Opera House, York (Tuesday 28 January – Saturday 1 February); Sunderland Empire (Tuesday 11 – Saturday 15 Feb) and New Theatre, Wimbledon (Tuesday 18 – Saturday 22 Feb).

For the first time ever, all of Dolly Parton’s biggest hits are brought together in a rollicking and joyful new musical comedy, fully authorised by Dolly herself. Packed with iconic songs like Jolene, 9 to 5, Islands in the Stream, I Will Always Love You, Here You Come Again and more, this lively and touching new musical tells the story of a diehard fan whose imagined version of international icon Dolly Parton gets him through trying times.

Originally written by multi-Emmy award-winning comedy and songwriter Bruce Vilanch with Gabriel Barre (who also directs) and writer and actor Tricia Paoluccio (who co-writes and stars as Dolly). Acclaimed British TV and theatre writer Jonathan Harvey (Gimme, Gimme, Gimme and Coronation Street) provides additional material for the production’s UK run. Full casting to be announced.

The wider creative team comprises Gabriel Barre as Director; Set and Costume Designer, Paul Wills; Choreographer, Lizzie Gee; Lighting Designer, Tim Deiling; Sound Designer, Tom Marshall; Associate Director/Assistant Choreographer, Teenie MacLeod; Illusion Designer, Richard Pinner; Orchestrator, Eugene Gwozdz; Orchestra Manager, Maurice Cambridge; Production Manager, Ben Arkell and Casting Director, Stuart Burt.

Ahead of Here You Come Again’s London Christmas season, the tour will visit: Richmond TheatreRichmondKing’s TheatreGlasgowTheatre RoyalNorwichEveryman TheatreCheltenham; New Victoria TheatreWokingThe LowrySalfordTheatre RoyalBathChichesterFestival TheatreMilton Keynes Theatre, Milton KeynesGrand TheatreBlackpool Grand before concluding at the Empire Theatre, Liverpool.

Here You Come Again is produced by Simon Friend Entertainment and Leeds Playhouse, in association with Jenny King, Patrick Gracey and Vibecke Dahle.

Here You Come Again

London Festive Season Dates

Riverside Studios

Tuesday 10 December – Saturday 18 January

www.riversidestudios.co.uk

New 2025 Tour Dates

Grand Opera House, York

Tuesday 28 Jan – Saturday 1 February

www.agtickets.com/york

Sunderland Empire

Tuesday 11 – Saturday 15 February 

www.atgtickets.com/venues/sunderland-empire/

New Theatre, Wimbledon

Tuesday 18 – Sat 22 February

www.atgtickets.com/venues/new-wimbledon-theatre/

Remaining 2024 UK Tour Dates

Richmond Theatre

Tuesday 24 – Saturday 28 September

www.atgtickets.com/venues/richmond-theatre/

King’s Theatre, Glasgow

Tuesday 1 – Saturday 5 October

www.atgtickets.com/venues/kings-theatre-glasgow/

Theatre Royal, Norwich

Tuesday 8 – Saturday 12 October

www.norwichtheatre.org

Cheltenham Everyman

Tuesday 14 – Saturday 18 October

https://www.everymantheatre.org.uk

New Victoria Theatre, Woking

Tuesday 22 – Saturday 26 October

www.atgtickets.com/venues/new-victoria-theatre/

Lowry Theatre, Salford

Tuesday 29 October – Saturday 2 November

www.thelowry.com

Theatre Royal, Bath

Tuesday 5 – Saturday 9 November

www.theatreroyal.org.uk

Festival Theatre, Chichester

Tuesday 12 – Saturday 16 November

www.cft.org.uk

Milton Keynes Theatre

Tuesday 19 – Saturday 23 November

www.atgtickets.com/venues/milton-keynes-theatre/

Blackpool Grand

Tuesday 26 – Saturday 30 November

www.blackpoolgrand.co.uk

Liverpool Empire

Tuesday 3 – Saturday 7 December

https://www.atgtickets.com/venues/liverpool-empire

‘CHRISTMAS BY CANDLELIGHT’ TO PLAY THE ADELPHI THEATRE ON TUESDAY 17 DECEMBER 2024

‘CHRISTMAS BY CANDLELIGHT’

A MAGICAL EVENING OF BELOVED

FESTIVE SONGS

TO PLAY

THE ADELPHI THEATRE

IN LONDON’S WEST END ON

TUESDAY 17 DECEMBER 2024

Simon Gordon and Daniel Wood of Kinda Dusty Ltd. are delighted to present CHRISTMAS BY CANDLELIGHT, a magical evening of beloved festive songs performed by candlelight, playing the Adelphi Theatre for one night only on Tuesday 17 December 2024. Tickets on sale Friday 20 September.

The concert will feature West End stars Joel Harper-Jackson, Rachel John, Oliver Tompsett and Rachael Wooding alongside an epic live band to perform everyone’s favourite Christmas Hits, in the West-End’s most magical festive sing-along extravaganza!

Featuring sing-along classics such as White ChristmasLet It Snow! Let It Snow! Let It Snow!O Holy Night and Winter Wonderland, this uplifting sing-along concert is the perfect way to celebrate a ‘Holly Jolly Christmas’ with all of the family!

Joel Harper-Jackson is best known for starring as Harry in Standing at the Sky’s Edge (Gillian Lynne Theatre, West End); M in Marianne Elliott’s play Cock (Ambassadors Theatre, West End); Freddie in Chess in concert (Theatre Royal Drury Lane) and Charlie Price in Kinky Boots (UK Tour). His other theatre credits include Pieces Of String (Mercury Theatre); Myth: The Rise and Fall of Orpheus (The Other Palace); The Curious Incident of the Dog in the Night-Time  (UK Tour); Jesus Christ Superstar (Regents Park Open Air Theatre); Beautiful – The Carole King Musical (The Aldwych Theatre); Evita (Ljubljana Festival, Slovenia); Little Women (Hope Mill Theatre) and Rent (20th Anniversary UK Tour). His TV and film credits include The Devil’s Hour (A Hartswood Films Production for Amazon Prime) and Matilda (Netflix).

Oliver Tompsett’s stage credits include Shakespeare in &Juliet (Broadway & West End), Thomas in Wild About You (Theatre Royal Drury Lane), Ramsey in In Dreams (Leeds and Toronto), Edward Lewis in Pretty Woman (Savoy Theatre), Charlie Price in Kinky Boots (Adelphi), Sky Masterson in Guys and Dolls (Phoenix), Galileo in We Will Rock You (Dominion), Drew Boley in Rock of Ages (Dominion), Fiyero in Wicked (Apollo Victoria), Phil Davis in White Christmas (West Yorkshire Playhouse), Starlight Express (The Other Palace), The World Goes Round (St James), The Royal Hunt of The Sun (The National), MAMMA MIA! (Prince of Wales), Our House (Cambridge), Caliph in Kismet (Arcola), Harry Lytton in Over My Shoulder (Wyndham’s) and Tony in West Side Story (Canizzaro Park Festival). His screen credits include Chauncey in Show Dogs (Open Road Films) and Jake in The Hard Way (Fireapple).

Rachel John garnered critical acclaim for her portrayal of Angelica in the original West End cast of Hamilton (Victoria Palace). Her other theatre credits include The Big Life (Theatre Royal Stratford East), West End Does: Christmas (Cadogan Hall); Disney 100 shows (People Entertainment Group); The Secret Life of Bees (Almeida); A Christmas Carol (The Old Vic); Songs For A New World (London Palladium); Girl From The North Country (Toronto/West End); West End Musical Celebration (Palace Theatre); The Bodyguard (West End/UK Tour); Memphis (Shaftesbury Theatre); Rent (UK Tour); We Will Rock You (Dominion Theatre and UK tour); Godspell (Sir George Monoux College); Sister Act (London Palladium) and The Lion King (The Lyceum Theatre/ Asian Tour). Her film work includes The Marvels directed by Nia DaCosta.

Rachel released her debut album From My Lips To God’s Ear in April 2022 with Westway Music. She subsequently performed as opening act for the legendary artist Dionne Warwick throughout her UK tour and West End run.

Rachael Wooding is the lead singer with the band The Loansome Frets. Her West End theatre credits include Pretty Woman, We Will Rock YouJersey BoysHairspray, Saturday Night Fever and Fame. Her other theatre work includes Standing at the Sky’s EdgeA Chorus Line and My Father’s Son (Sheffield Theatres); Well Behaved Women Concert (Cadogan Hall); Fat Friends the MusicalWonderlandEvitaFootloose and Loveshack (all UK tours); Another Night Before Christmas (Bridge House); Street of Dreams (Manchester Evening News Arena); Bright Lights and Big City (Hoxton Hall); Grimm: Hardcore Fairy Tales for Mammoth Music and Return to the Forbidden Theatre (Lincoln Theatre Royal).

Her other performance work includes Christmas in New York (Broadway); Momentous Musicals (New Wimbledon Theatre); Music of ABBAMusic of Queen and Musicals Rock (Liverpool Philharmonic Hall) and Queen Symphonic (UK and international tour).

Rachael made it to the semi-finals of Britain’s Got Talent in 2016. She has also appeared on Al Murray’s Happy HourGirlfriendsCoronation StreetDoctors and The Royal Variety Performance.

CHRISTMAS BY CANDLELIGHT is produced and directed by Simon Gordon and Daniel Wood of Kinda Dusty Ltd. with orchestrations and musical supervision by Sam Broadbere and musical direction by Liam Holmes.

Website: concertsbycandlelight.com

Instagram: @concertsbycandlelight

LISTINGS INFORMATION

CHRISTMAS BY CANDLELIGHT

Tuesday 17 December, 7.30pm

Adelphi Theatre

Strand

Covent Garden

London

WC2R0NS

Pre-sale: Thursday 19th September

General on sale: Friday 20th September

Tickets: from £31

Please book via the website: lwtheatres.co.uk

Booking line: 0203 925 2998

HEATHERS THE MUSICAL REVIEW

STORYHOUSE, CHESTER – UNTIL SATURDAY 21ST SEPTEMBER 2024

REVIEWED BY MIA BOWEN

4****

The trend of cult teen musicals remains popular with productions such as “Be More Chill“, “Six“, and “Dear Evan Hansen“, however, none delve into adult themes quite like “Heathers“. This musical is based on the cult classic movie Heathers that debuted in 1989. Its darkly comedic tale of high school struggles remains engaging and continues to captivate a large audience of young teenage fans. Similar to its predecessor film, “Heathers: The Musical” is gaining a strong following and is well on its way to achieving a cult status.

Heathers is a dark comedy that follows the story of angst-filled teen, Veronica Sawyer who joins the popular and feared clique at Westerburg High School, comprising three wealthy and beautiful girls – all named Heather. Veronica’s interest is piqued by a new student named Jason ‘J.D.’ Dean, when he confronts bullies on the football team. JD entices Veronica, to become his girlfriend. Unaware, she aligns with him to bring his murderous fantasies to life.

It is important to note that the show deals with themes like suicide, coercive relationships, bullying, date rape, and homophobia. Despite its dark nature, the comedy woven into the storyline helps to keep the overall tone light. There are numerous moments that will make you laugh out loud, often centred around the characters Ram, played by Jason Battersby, and Kurt, played by Ivan Fernandez Gonzalez, who form a dynamic duo, with expert timing for comedy and flawlessly synchronised movements, particularly during their performance of “You’re Welcome“, alongside Jenna Innes who plays Veronica Sawyer.

The whole cast was exceptional, with notable performances from Amy Miles in her West-End debut as Martha Dunnstock, delivering a deeply moving rendition of ‘Kindergarten Boyfriend‘ and Conor McFarlane as Ram’s father, along with Alexander Service as Kurt’s father. Their portrayal of ‘My Dead Gay Son‘ was a standout moment of the evening! Daisy Twells, playing Heather McNamara, nearly brought me to tears with her portrayal in ”Lifeboat”.

Young audiences love this show for a reason – it connects with their intense emotions of adolescence. The new cast brings fresh energy and the production truly shines. It’s no wonder they keep wanting more!

Here You Come Again Review

LYCEUM, SHEFFIELD – until 21 September 2024

Reviewed by Alison Beaumont

4****

Here You Come Again was written by Bruce Vilanch, Gabriel Barre and Tricia Paoluccio. It tells the story of Kevin, a gay man, who is down on his luck as a comedian in his 40’s who is having relationship issues. He is isolated in the attic of his childhood home during the 2020 COVID lockdown with only his many posters and memorabilia of Dolly Parton to keep him company. When Kevin says “What Would Dolly Do?” as he tries to gain some perspective of his life Dolly materialises like an angel into his lonely world offering words of wisdom and giving Kevin a positive outlook on life.

It brings back some of the memories of times during the COVID pandemic, the bulk buying of toilet rolls, disinfecting all your shopping and singing happy birthday while washing your hands all whilst listening to the fantastic Dolly Parton songs throughout such as “9 to 5” and “Jolene”.

Kevin in this performance was played by the understudy Aidan Cutler and what an excellent performance he gave, from the beginning he brought fun and laughter to the show, also bringing a personal audience touch to the performance.

Dolly played by co-writer Tricia Paoluccio has always loved imitating the singer and had Dolly off to a tee, her voice, singing and mannerisms were brilliant, and she looked very comfortable playing the iconic Dolly.

Dolly facts were fed out throughout the show, whether it be about Dollywood, relationships or her song writing.

The set is simple but busy, with the attic being the backdrop for nearly the entire performance.

At the end you are invited to video the medley of all the songs featured during the show. Everyone was up on their feet and enjoying every moment.

This show is hilarious and had you leaving the theatre with a smile on your face and a feel-good factor about yourself.

Hairspray Review

Birmingham Hippodrome – until 21st September 2024

Reviewed by Emma Millward

5*****

Starting life as a 1988 cult comedy film by outrageous director John Waters, Hairspray was transformed into a musical with music by Marc Shaiman, and lyrics by Marc Shaiman and Scott Wittman, with a book by Mark O’ Donnell and Thomas Meehan. Later made into a 2007 film starring John Travolta and Michelle Pfeiffer among others. Having played Motormouth Maybelle in many versions of the show, this production marks Brenda Edward’s directorial debut alongside Paul Kerryson. 

Set in 1960’s Baltimore, Maryland, the show follows Tracy Turnblad (Alexandra Emerson -Kirby making her professional theatrical debut in spectacular fashion), an overweight teenager with a big heart and even bigger hair, whose main goals in life are to win the heart of the school heartthrob Link Larkin (Solomon Davy) and to dance on her favourite TV show ‘The Corny Collins Show’. 

The show is hosted, of course, by Corny Collins (Declan Egan) and features predominately white dancers, except once a month when the show has a ‘Negro Day’ hosted by Motormouth Maybelle (Michelle Ndegwa.) Tracy faces much prejudice as she is much bigger than the other dancers on the show, and she is immediately rejected by the show’s producer, Velma Von Tussle (played with devilish glee by Joanne Clifton), who is disgusted by Tracy’s thoughts on making the show totally integrated for dancers of all colours. Velma doesn’t want anybody overshadowing her daughter Amber (Alana Taylor) and her quest for fame. In detention, Tracy meets Motormouth’s son Seaweed (Reece Richards), who falls for Tracy’s best friend Penny (Freya McMahon, also making her theatrical debut). Penny is a ball of nervous energy and one of my favourite characters in Hairspray.

Although the entire cast is outstanding, the stand-out performances for me were Tracy’s parents, Edna (Neil Hurst) and Wilbur (Dermot Canavan) who provide touching but hilarious moments throughout the show. Their performance of ‘You’re Timeless to Me’ made the audience roar with laughter with their little ad-libbed moments that made the performers themselves struggle to hold their own giggles in. Michelle Ndegwa as Motormouth Maybelle also shone, especially in her show-stopping performance of the hardest hitting song in the show, ‘I Know Where I’ve Been’. A song that always brings tears to my eyes, and hearing it performed live and with such emotion definitely had the same effect on me. Although a seasoned performer with bands such as The Gorillaz, Ndegwa is making her theatrical debut in this production, and she definitely has a bright future ahead of her. 

The set design by Takis is quite minimal, but clever in its design. We switch between scenes almost seamlessly with sets sliding in and out of the walls at the side. The costumes (also by Takis) are breathtaking, from beautiful pastel prom dresses to bright colourful suits, and, of course, lots of glitter and sparkles for the big finale. A musical is nothing without good songs. There are no ‘filler’ songs in Hairspray, and they were all met with rapturous applause and approval from the audience. By the finale of ‘You Can’t Stop The Beat’, the crowd were up out of their seats and ready to dance like it was 1962!!!