War of the Worlds – Motorpoint Arena, Sheffield

Posted by: The Reviews Hub 

https://www.thereviewshub.com/war-of-the-worlds-motorpoint-arena-sheffield/

10/12/2012

Music/Lyrics: Jeff Wayne

Book: HG Wells

Director: Steve Nolan

3*

First published in 1897, HG Wells’s visionary novel is still as ground-breaking today as it was when it first shocked Victorian England and now over 30 years since first composed from the moment the music starts you are transported into a terrifying story of Martians landing on the Earth and taking over. With an orchestra on one side, a rock band on the other in the middle you have Jeff Wayne, bouncing around like tigger, clearly enjoying himself conducting the two.

For the music alone, this would be a 5 star performance but it’s the singing that lets it down, especially from the 3 main stalwarts of musical theatre, Marti Pellow singing the thoughts of the Journalist and Jason Donovan and Kerry Ellis who play parson Nathanial and his wife Beth. All three of them fight to be heard over the amazing orchestration and all three lose. Their parts are brief and could easily be pre-recorded to ensure a higher quality performance. There is however, a shining beacon of hope with Brave New World outstandingly sung by Ricky Wilson in his performance as the Artilleryman and The Voice of Humanity. Will Stapleton also gives an amazing performance with his rendition of Thunderchild.

The staging is incredible; Liam Neeson takes over the iconic rôle of the Journalist, portrayed for many years by the late Richard Burton. Now more interactive with a 3d hologram that appears to pass over a drink to the Artilleryman and punch the Parson. A huge alien descends from the ceiling and menacingly shoots fire at the poor front rows, the lighting, pyrotechnics and incredible music drag you into the atmosphere and your attention never wavers from the show.

You are sure to have the music in your brain as you leave the Arena and find yourself humming the magnificent score. But it’s the synthesised note that portrays the Martian that terrifies and even knowing it’s a show and you are safe, it cannot fail to send shivers down your spine.

Soul Sister – Civic Theatre, Darlington

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20/11/2012 

Directors: Pete Brooks &Bob Eaton

Producers: Bill Kenwright &John Miller

Choreographer: Jason Pennycooke

2.5*

Unfortunately for Darlington we were treated to an almost complete understudy show for Soul Sister, telling the story of Ike and Tina Turner. The programme is at pains to point out that the show is not an authorised biography and is inspired by the music of Ike and Tina.

Rochelle Neil plays Tina from her beginnings in the 50’s when she lived in Nutbush as Annie Mae Bullock who sang gospel in Church to the 1980’s when she found fame again. Neil has an amazing voice when singing but clearly tired towards the end of each half. The end of the first half finishes with River Deep Mountain High which lacks the power from the vocals at the beginning of the show. Likewise, the second half starts with a powerhouse version of Proud Mary but by Simply the Best at the end her voice was flagging again. Her performance and movements are distinctly Tina Turner but her acting was stilted and didn’t flow.

Chris Tummings is Ike Turner, misogynist drunk and drug taker, his violence towards his wife is legendary but Tummings characterisation is one dimensional almost pantomime-esq, not showing Ike with any redeeming features at all.

The show spans over 30 years but glosses over the most salient points of the couples years together. Ike and Tina come from an America that is still racially segregated, their music too white for the black community and too black for the white community. The couple works hard to make it big, performing up to 30 times a week even when Tina is 8 months pregnant. They eventually get their big break with the help, of the disembodied voice, of Phil Spectre. River Deep Mountain High is a massive hit in Europe where racism isn’t as severe as the states but this is almost ignored within the confines of the story.

The violence between Ike and Tina is less graphic for the stage than reality but you don’t feel the despair from the abused Tina or the relief she finds from Buddhism. Neither do we get the spiral of abuse as Ike loses Tina and fame to his dependence of drink and drugs.

The scenery is different with sliding doors passing along the stage to show the changes, while cartoon type pictures are projected on a back drop while the voice of Annie Mae talks us through her life story. Or we were treated to the live band during the song performances.

The last part of the show is supposed to be a concert and although the audience are encouraged to get up and dance only a few take up the offer, which seems a shame as it feels that the entire audience should have been up dancing in the aisles.

If you are a Tina Turner fan you should maybe go to see a Tina Turner tribute act as you may be disappointed with Soul Sister.

Bouncers – Civic Theatre, Darlington

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15/11/2012 

Writter and director: John Godber

Designer: Pip Leckenby

Lighting Designer: Adrian Barnes

4.5*

Bouncers is 35 years old this year and according to author, John Godber, even though it has been updated for this 2012 production, the essence of the show never changed. Its update was merely replacing the music. He claims you can leave the theatre and in any town and city in the UK you will see the same performance played out in front of you in the bars, pubs and clubs across the land.

Bouncers is the story of a night out from the 3 different perspectives of the girls celebrating a 21st, the lads night out and the bouncers who keep an eye on them all. The same 4 actors -Ace Bhatti, Don Gilet, William Ilkley and Ian Reddington – play all the parts with the minimum of fuss. From scenes in the hairdressers with the girls, the barbers with the boys and the outside of the club with the bouncers, we even get to see part of a Swedish porn film all in the very sparse set, with just barrels as props. It’s the excellence of the acting, the writing and the lighting that sets you in the right place. There is a powerful imagery that Godbers writing conjures: the mascara-streaked faces of a group of tearful girls are “like a miner’s back in the shower” and discarded condoms lie like “dead Smurfs” around the back of the nightclub.

We can probably all relate to the night out, getting ready, having a drink and a dance and good time. And while Godber exaggerates the scenes for comic and dramatic effect it’s all very real. But the production and the cast give an outstanding performance of a play which is a classic of its type. The cast’s rapid changes from character to character, girl to boy to man, at first makes you feel that the characters are one dimensional and little more than caricatures, but gradually individuality begins to emerge. The actors don’t receive any help from costume changes – not even the addition or taking away of a single item of clothing (except that, as girls, they have white hand bags) – so they must use body language and voice. The fact that, by the end of the play, we recognise each character even before they begin to speak is a tribute to the cast.

In the middle of all the comedy we get Lucky Eric, Reddington, and his speeches. Each of the monologues gives you a pause for thought and we are left with more questions than answers and a profound idea of our own and state of the nation’s morality. The speech at the end describing a sex scene, with the boy pounding away and the girl feeling nothing and eating pizza, hits you so hard. With Bouncers now on the GCSE syllabus you can only hope and pray that any young girls reading this will be hit by the realism and outstanding imagery and maybe not go out in next to nothing, not go out and drink til they are unconscious or maybe not go out at all and cherish their childhood before being forced to grow up too soon

Blood Brothers- Civic Theatre, Darlington

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06/11/2012 

Book: Willy Russell

Music/Lyrics: Willy Russell

Director: Bob Tomson, Bill Kenwright

4.5*

Blood Brothers is a haunting, beautifully tragic show, with genuine humour and pure emotion it begins at the end and then goes on to tell the story of how we got there. Currently in its last few weeks in London’s West End, the tour continues deliver the story of Mrs Johnstone and her twins, now in its 28th year.

Set in Liverpool in the seventies, Marti Pellow snarls his way through the rôle of Narrator, spreading malevolence in his rôle of Devil in human form. Even in scenes where he doesn’t speak his presence just exudes menace. His liverpudlian accent is fine for short sentences but in the longer monologues his accent travels until we are left with a very scary hybrid scouse/Scottish.

X-Factor finalist, Niki Evans, plays poor downtrodden Mrs Johnstone who makes the heart wrenching decision to give one of her twins to infertile employer Mrs Lyons, Tracy Spencer. Evans has a powerhouse of a voice, squeezing every bit of feeling out of her vocals. Her show stopping rendition of Tell Me it’s Not True takes your breath away and your heart genuinely breaks with the raw emotion in her performance.

The twins are played by Jorden Bird as upper class and indulged Eddie, the child who was given away, and James Templeton as Mickey the child who was kept. Templeton delivers an outstanding performance ranging in age over the best part of 20 years. In his hand me down jumper and ragged shorts he is genuinely believable seven year old who is nearly eight, his 14 year old is hilarious and his tragic spiral down into despair in his later years is distressing to watch. Such is the performance that you really do believe in his problems and forget that he is acting.

Olivia Sloyan plays Linda, in love with both brothers and both in love with her. But it is Mickey who marries her after getting her pregnant although it is Eddie who helps her and Mickey in the later years, leading to the ultimate disastrous ending.

The set is simple with just a row of houses and a street with a back drop of the familiar sights of Liverpool. The first half has the old run down inner city estate and the second half the fresh new start in the country. The cast use props to portray the other scenes, such has desks for school and seats for the bus and cinema.

You must take tissues with you to the performance because you will need them, there wasn’t a dry eye in the house last night and the audience in Darlington gave a rousing, deserved, standing ovation to the cast who gave many curtain calls as the cheering and clapping continued for some time.

Three Men in a Boat – Civic Theatre, Darlington

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27/09/2012 

Writer: Jerome K Jerome

Director: Craig Gilbert

5*

It was with a sense of irony, after the recent flooding in the north east, that the Tuesday press night for Three Men in a Boat became a Thursday matinée. But it was well worth the wait.

A very liberal interpretation of the classic book, the performance takes place in the back room of the Elusive Pelican public house. Where Mr Jerome is giving a lecture to members of the Royal Geographical Society, which is actually the theatre audience.

Mr Jerome K Jerome, J to his friends, is brought to life by Alastair Whatley. Trying to bring a sense of decorum to the proceedings he is helped into disorder by friends George (Christopher Brandon) and Harris (Tom Hackney). With all three suffering from various cases of hypochondria the chums decide a holiday rowing down the river will help them all to be well again. The fellows of the Royal Geographical Society are treated to the tale of the river from different points of view of the spiffing boys and Montmorency the dog.

Nelly, the highly talented Sue Appleby, gives a musical accompaniment to the tales of adventure. From the initial version of Row, Row, Row the Boat through to a tango version while J packs is brilliant. The frantic countdown tune for Harris’ attempt to remember what is packed while J and George pose as showgirls is inspired. But the magical ending to the first half of the lecture, with the tin of pineapple, a chorus of Daylight comes and I want to go home and the theme to Chariots of Fire will have you wiping the tears of laughter from your eyes. It is truly hilarious.

Part two has some sadness, with a beautifully haunting lament as the men recount the sad tale of finding a woman’s body in the river. But more comedy comes involving a swan attack, a parody of the immortal scene from Titanic and a tense card game that turns into a spaghetti western with poor Nelly getting shot by Harris’ pipe.

The set is beautiful, looking almost exactly like a country pub. Full use of the props and scenery are used to show off the boat and the scenes from the Thames. And full use of the audience from becoming members of the society to towing the boat upsteam

This production from The Original Theatre Company is performance at its best.

Chicago – Lyceum Theatre, Sheffield

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25/09/2012 

Music/Lyrics: John Kander & Fred Ebb

Book: Fred Ebb &Bob Fosse

Director: Scott Farris

3*

Even though Chicago has now closed in the West End this tour keeps the performance going. Telling the story of how Roxie Hart gets away with murder with the help of slick lawyer Billy Flynn. Her time in prison with the notorious Velma Kelly, duping her ever loving husband Amos and being good to Mama Morton while in Prison. It is based on a true story from the 1920’s.

But this classic Kander and Ebb musical lacks the razzle dazzle. With all the principal characters played by people previously in soap operas this seems like stunt casting. Using the past characterisations of the actors to fill the seats rather than relying on the musical itself to fill theatres. We were also relying on understudies due to illness from two of the principals.

Tupele Dorgu shows her abilities well with a wonderful version of Velma Kelly, singing All That Jazz with vocals that are thrilling and unexpected, stealing every scene she is in. Stefan Booth was indisposed so Ian Oswald stepped up but he lacks the spark needed to play the devious Billy Flynn. Rather surprisingly, Bernie Nolan fails to hold the stage with her rather seedy Mama Morton and her accent moves between Irish and American with ease. Ali Bastion was also ill and we had understudy Chloe Ames proving she can sing and dance her way through Roxie Hart but while Roxie is devious using people as she needs them, Ames comes across as too nice and it’s hard to take her rôle seriously. Her voice also comes over as weak especially during My Own Best Friend, but that could be because Dorgu has a particularly strong voice, drowning out Ames’ efforts. Jamie Baughan is fabulous as Mr Cellophane, Amos Hart, and is definitely the most sympathetic character on stage.

The set is interesting with the band in a nightclub setting in the middle of the stage all the way through the show. The ensemble are sat on chairs at the side of the stage, as if in a rehearsal room.

Despite the weather, it was a full house and the Sheffield audience seemed to enjoy themselves. Let’s hope that the illness soon passes and the show can be up at full strength soon

Joseph and the Amazing Technicolor Dreamcoat – Civic Theatre, Darlington

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https://www.thereviewshub.com/joseph-and-the-amazing-technicolor-dreamcoat-civic-theatre-darlington-2/

19/09/2012 

Music: Andrew Lloyd Webber

Lyrics: Tim Rice

Director: Bill Kenwright

4.5*

Joseph is a classic among musicals. Staying true to the biblical tale in Genesis, this offering by Tim Rice and Andrew Lloyd Webber has not been modernised or messed around with in any way since it was originally written in the 70’s.

The musical is sung all the way through with no dialogue apart from the occasional one word here and there. The story of the favourite son of Jacob, sold by his brothers and his trials and tribulations from being bought by Potiphar, seduced by Mrs Potiphar and his life in jail thereafter. Luckily his gift for interpreting dreams makes him a favourite of the Pharaoh and happy endings all around when he his eventually reunited with his father and brothers and wears his famous coat of many colours.

Keith Jack is billed as the star performer but in reality he sings very few of the songs in the show. He has made up for coming second in the reality TV search for Joseph though, by turning in a very mature vocal performance. And by looking good in a loin cloth.

The real star is Lauren Ingram in her rôle of Narrator. Seamlessly singing the parts of the show together. The brothers do a fine job too, with lots of fast costume changes and high energy dance routines. Star of the comic turns is Luke Jasztal with his Elvis Presley inspired Pharaoh, dressed in one of The Kings famous white jumpsuits and surrounded by adoring girls. And we must give a special mention to the children from the local stage school who sing as the chorus.

The small stage didn’t seem to deter an exceptional set design, and every spare space was utilised well. Made up of a pair of staircases where the children sit it is very simple, with extra items ‘flown in’ as needed and cardboard camels to ride across the stage on.

The different musical styles are played wonderfully by the live orchestra. From calypso, to a tango, a hoe-down and in the case of Those Canaan Days a song that wouldn’t sound out of place being sung in a French wine bar by the Little Sparrow herself.

Joseph and the Amazing Technicolor Dreamcoat is a heavenly show to see. With a standing ovation and an encore that goes on forever, expressive singing of well written songs, comic interaction and spellbinding performances make this a show not to be missed.

Alf Ramsey Knew My Grandfather- Civic Theatre, Darlington

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25/07/2012 

Writers: Trevor Wood, Ed Waugh

Director: Mark Wingett

4.5*

What a wonderful piece of theatre, excellently acted by just six men. Playing to a half empty theatre, the people of Darlington missed out on a theatrical treat.

Alf Ramsey tells the tale of West Auckland FC who were mistakenly invited to go to Turin in 1909 and play in the first ever International Football Tournament, organised by Sir Thomas Lipton. The winners of which received £100 and The Thomas Lipton Cup – the first ever “World Cup”. Expecting Woolwich Arsenal the forefathers of our modern Arsenal, instead the pit workers from the little village of West Auckland in County Durham turned up to do some serious giant killing.

The story is narrated in the modern day by Wyn Barron, great grandson of the original manager Mr Barron both played by David Nellist. In the modern narration he tells of us his love of football and lack of love life and how his grandfather was the official photographer for the 1966 England World Cup Team which is why Alf Ramsey did indeed know him. The action is portrayed in the past by the players on the team. Innocent Tucker, Dean Logan, who takes care of the pit ponies and wants to walk out with the pit managers daughter. Charlie, Wayne Miller, the blacksmith revolutionary who escaped a mining disaster but whose brother’s body was never found. Careful Jonesy, Robert Davidson, who keeps a clear eye on the money so the boys can afford to go to Italy. Womanising Rob, Micky Cochrane, who also plays his own wife Bella and family man Tom, Iain Cunningham, who plays his wife Mary with a real unexpected depth and sensitivity.

The men begged, borrowed and pawned their belongings to get to pay for the week long journey to Italy. And while their story is hilariously played out, it’s the sadness in the background stories between the two wives Bella and Mary that makes you think. No money, no phones and very little contact in contrast to the WAGS of today. Bella takes the advantage of the absence and moves in with the Pawn Broker leaving sister in law Mary to unofficially adopt Bella and Rob’s children.

This is a wonderful feel good show, full of northern humour to give you a proper belly laugh. It’s also been presented this week in order to raise funds for the newly formed Darlington 1883 football club with a bucket collection at the end. So you can see a fine piece of comedy while helping a good cause.

Dry Rot- Civic Theatre, Darlington

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26/06/2012 

Writer: John Chapman

Director: Ron Aldridge

4*

When the show begins you could be forgiven for thinking this would be another ‘More tea Vicar-whoops there goes my trousers’ farce. But it is so much more than that. Hilarious from the outset this show is sure to heave you gasping for air while having laugh after laugh.

Written in 1954, Dry Rot is a tale of skulduggery in the racing industry. Colonel Wagstaff (Neil Stacey), his wife Doris (Liza Goddard) and daughter Susan (Evelyn Adams), are the new owners of a hotel very close to a racetrack. Their first ever guests are crooked Bookie Alfred Tubbe (Darren Nesbitt), his valet Fred Phipps (Norman Pace) and Secretary John Danby (Bob Saul). Throw into the mix crook Flash Harry (Gareth Pace) and Beth the hotel maid, played by Susan Penhaligon who hilariously steals every scene she is in, and you have the mad mix.

The plot, in which a crooked bookie and his two accomplices devise a cunning ‘get rich quick’ plan to kidnap the odds-on favourite horse and replace it with their own decrepit nag leads to one ridiculous situation after another. The romance between Danby and Susan is a tad sickly sweet compared to the romance between Beth and Phipps which is just sweet. Secret doors, split-second timing, flawless physical comedy and a hilarious French jockey played by Michael Keane contribute to the funniest scene in the show. But Sergeant Fire (Sarah Whitlock) in a scene where she constantly walks in on the crooked bookies in a state of undress is a close second.

Billed as a classic it’s easy to see why it’s on the National Theatre’s top 100 plays list. Worth the trip to Darlington for Susan Penhaligon alone, you really shouldn’t miss this hilarious farce.

Beyond the Barricade – Civic Theatre, Darlington

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https://www.thereviewshub.com/beyond-the-barricade-civic-theatre-darlington/

15/06/2012 

Producers: Andy Reiss, David Fawcett

Musical Director: Andy Reiss

4*

The ethos of Beyond the Barricade is that only ex members of Les Miserables are cast in the production; this is so no one is under the illusion as to the quality of the performers. And you do see a quality performance. Laced with a few jokes and a bit of audience banter the show is fantastic.

Flowing seamlessly from Phantom to We Will Rock You to Lion King, you get a whole range of West End hits. All four singers have amazing voices and it would be unfair to single out any special praise for an individual however Katie Leemings vocals for Don’t Cry for Me Argentina from Evita and Tell Me It’s Not True from Blood Brothers are outstanding. And while you are still wiping away the tears Rebecca Vere hits you with Only The Good Die Young from WWRY leading to an emotional few moments. David Fawcett is a perfect master of ceremonies for the evening and has a vast knowledge of all things theatrical which he combines with comedy – and then tops it all off with a huge voice. He is just as happy playing Poomba in The Lion King as he is raising the roof as Jean Valjean in Les Miserables.

Completing this extremely talented quartet is Andy Reiss who possesses a charismatic stage presence and an incredible rock musical voice that creates a very powerful Judas in Superstar from Jesus Christ Superstar and also a very comedic Seymour from Little Shop of Horrors. Not content with just blasting out the more rock-style numbers and playing keyboards, he also acts as musical and creative director for the tour.

The simple but effective lighting is supplemented with a large video screen which provides visual backup and affords several opportunities to share with the audience a slide show which gives the whole performance an extremely friendly, almost intimate, feeling. When the Freddie Mercury slide popped up his photo got a round of applause without any singing. But a special mention must be made because the regular Lighting engineer wasn’t at the performance due to his wife giving birth that morning and an unnamed volunteer had stepped in at the last minute from the Civic. But you wouldn’t have guessed as it all ran seamlessly

The finale of Les Miserables, with favourites like At The End Of The Day, Stars, On My Own and I Dreamed A Dream, which raised the roof. The group returned to a standing ovation for their One Day More encore which ends the musical’s first act, normally performed by a 25-strong group of singers and their orchestra. It was difficult to believe such musical and vocal strength came from the four singers and their modest band of 3 – a keyboard, drums and bass, near impossible to tell their performance from the West End’s

Beyond The Barricade is in its 13th year of touring if you’ve not seen it yet then go when its passing and you’ll have a fabulous night out