Yvonne Arnaud Theatre – until 21^st January 2023

Reviewed by Heather Chalkley

4****

Writer Nick Lane’s adaptation of this well known tale has taken the essence of the story, delivering it at a fast pace, full of intrigue and brilliant deductions. This perfectly reflects the familiar character of Sherlock Holmes (Luke Barton).

With a cast of 5 and 12 characters, you are kept on your toes throughout, as they switch between accents and quite distinct personalities. It is impressive! Barton captures the intense concentration of Holmes and the highly volatile, often irrational nature of Baldwin. Joseph Derrington (Dr Watson) is the perfect narrator, bringing levels of light and shade to counterbalance Holmes. The tip tap of Watson’s typewriter draws you into the room, whether on set or in the soundtrack. The intensity was accented by the moments of humour, often delivered by Derrington (Watson/Stanger) and Alice Osmanski (Mrs Hudson). Jack McGinty (Gavin Malloy) is the linchpin to the plot, providing a steady level of confidence and calm. You are caught in a cold grip in the moment there is a brief, accidental meeting between Sherlock and Moriarty.

In the second half you are slightly distracted by players having to talk towards the back of the stage, to address the character sat at the table. Although the delivery still carries that same intensity, you feel less connected with the dialogue.

This is the third time Barton has played Sherlock and he is a treat for any fans of Arthur Conan Doyle’s work.

Hull New Theatre – 17th January 2023

Reviewed by Dawn Bennett

4****

Varna International Ballet (presented by Raymond Gubbay) are bringing four ballets to Hull New Theatre. Coppelia (17/01/23) Giselle (18/01/23) Swan Lake 19-20/01/02 and The Nutcracker (21/01/23).

Coppelia tells the story of Dr Coppelius (Federico Farina) the Toy taker who likes to dabble in magic, he makes a Coppelia Doll (Andrea Conforti) that he wants to pass off as his daughter as she’s so realistic.

Franz (Marrcello Pelizzoni) notices Coppelia in the window at Dr Coppelius house and he waves at her so Dr Coppelius makes her move and wave and throw a flower to Franz. His girlfriend Swanilda (Anastasia Leedy) is very upset at him seeming to flirt with a beautiful girl and is upset. Later, a group of friends and the couple hear a noise from Dr Coppelius’s house and the toymaker tries to get Franz into his house which he refuses to do.

Swanilda and her friends find a key, that Dr Coppelius has dropped and go into his house and see that Coppelia is a doll and all the rest of the wonderful inventions that the Toymaker has made. Franz then climbs through the window and Swanilda decides to dress up as Coppelia to trick Franz and teach him a lesson. When the toymaker returns, he is amazed how lifelike his doll has become and tries to get Franz to leave. His soon realises that Swanilda is not his doll and gets angry, so the couple quickly leave.

The final act of the ballet sees the couple get married and the audience were treated to a number of solos, duets, group dances and Pas des Deux by the company.

The Varna International Ballet Orchestra, with Peter Tuleshkov as their conductor, were particularly good and the dancers provided the appreciative audience with a very good evening of ballet.

As the Company are doing four different ballets in Hull there should be ballets for all tastes. An enjoyable night watching some talented dancers.

Piccadilly Theatre, London – until 3rd June 2023

Reviewed by Liberty Noke

4****

Moulin Rouge! Opens quite spectacularly with an incredibly talented ensemble performing Welcome to the Moulin Rouge. Every single member of the cast was performing with high energy, large exaggerated facial expressions and wonderful vocals. During this number there was something happening in every corner of the stage. It was impossible to be looking everywhere at once but everywhere you did look was mesmerising. The costumes, hair and makeup were unbelievable. The bright colours colours filled the stage. All the ensemble numbers were amazing I would say they were the highlight of the show. Every member of the ensemble was so talented.

This staged version of Moulin Rouge! Is an updated version of Baz Lurman’s movie. It still tells the story of the nightclub the Moulin Rouge and songwriter Christian (Jamie Muscato) who comes to Paris and meets Satine (Melissa James’) there but she is expected to show interest to only the Duke (Ben Richards) whose money may be the only way to save the struggling Moulin Rouge. One of the main changes is the addition of some more modern songs. Some of these worked very well while others I felt were a mistake. During a moment of reflection and self-doubt Satine sings Katy Perry’s Firework. This almost feels like a parody of a jukebox musical. It was almost humorous and was even met my some snickers by the audience as they realised what song it was. The fact that this is a jukebox musical makes it more accessible to a wider audience, appealing especially to those watching a muscial for the first time but I feel not all of the songs chosen were appropriate.

Jamie Muscato gave a sensational performance as Christian his vocals were a standout among the cast and he performed with such emotion you genuinely believed him to be the lovesick, tortured artist. He has a very expressive face and was able to create some small, comical moments. Of course the real comedians were Toulouse (Ian Carlyle) and Santiago (Elia Lo Tauro) they both kept up an accent throughout the entire performance, even while singing, and formed an endearing double act.

Matt Rixton played the divinely camp Harold Zidler. He was a sensational ringmaster leading the company and perfectly embodied the character.

Melissa James’ made a sensational entrance as Satine and while her performance was good I found that Satine didn’t stand out. With so many sensational performers on the stage. I was not blown away by this performance.

A despicably good performance was given by Ben Richards as the Duke. Everything from the way he moved and carried himself to the way he spoke was unpleasant he really was the perfect villain.

Overall, Moulin Rouge! is a dazzling, exuberant fun-filled show oozing with passion. It makes for wonderful evening but is, in my opinion, a little way from perfection.

Liverpool Empire Theatre – until Saturday 21^st January 2023

Reviewed by Carla Whittaker

4****

The Cher Show hits Liverpool Empire Theatre this week and if the show last night was anything to go by it sure will be a huge success in Liverpool.

The Cher Show was first staged in Chicago in 2018 before running for nine months in Broadway, it tells the story of the singer and actress Cher’s life; highs, lows and love as well as her many come backs told through over thirty five of Cher’s many hits including If I Could Turn Back Time, Strong Enough, Gypsies, Tramps and Thieves, The Shoop Shoop Song, I Got You Babe, and, of course, her triumphant 90s floor filler Believe.

The narrative was unique as the role of Cher was shared between three actresses; Millie O’Connell as ‘Babe’ who plays Cher in the 1950s and 1960s, Danielle Steers at ‘Lady’ in the 1970s and Debbie Kurup as ‘Star’ in the in the 1980s and 1990s. The three ladies are on stage most of the time; interacting with each other adding a fantasy element to the story and allowing for some fittingly moments. Each ‘Cher’ had a singing style bosting energy, diva attitude and effortless performances. These three really take you on a roller-coaster ride through Cher’s life from a young kid with big dreams to a pop icon!

Lucas Rush is marvellous playing the role of ‘Sonny’, really looking the part and ageing as the years pass as he launched Cher in the music scene dominating the pop charts in America and Britain.

The show is supported by an incredible exemble of dancers who really help bring the show to life with amazing vocals and flawless choreography really make this show one to watch.  The set design is simple; a full height of the stage row of hanging costumes in grey bags, with fantastic lighting effects, complimented by the dazzling and effective costumes designed by Gabrella Slade.

This show was really like a glittering nonstop party for people of all ages. A particular highlight for me ( and I think others!) was at the end when all three Chers sang a melody of all Cher’s classics; it got the audience up on the feet; singing, dancing and just having a really good night! Everyone had a smile on the face!

If you want a night full of style, wit, with the feel-good factor I recommend getting tickets for Cher the Musical playing at Liverpool Empire Theatre until Saturday 21 January 2023; you won’t be disappointed!

Theatre Royal Concert Hall Nottingham – until Saturday 21st January 2023

Reviewed by Amarjeet Singh

4****

I cannot describe the atmospheric, eerie opening to this play, it’s something you simply must experience, and it sets the tone for what can only be described as a riveting and thought-provoking piece of theatre. This production of An Inspector Calls at the beautiful Theatre Royal Concert Hall Nottingham is stunning. Surrounded by swaths of excited school children, I was transported back to my own days of study when this story hit home hard, and it’s certainly a production which reflects the zeitgeist of today. Set in a single night in 1912, An Inspector Calls cements JB Priestley’s position as a cutting-edge mover in a socialist movement, believing ‘We must stop thinking in terms of property and power and begin thinking in terms of community and creation’. As the curtain lifts, your senses are assaulted by rain, smoke and booming drums. Lowly slums skirt a house that stands high, announcing the divide which becomes ever more apparent between the classes as the story unfolds.

The garish Birling family home, standing centre stage like Baba Yaga’s hut, hosts a boastful dinner party which is interrupted by the unexpected arrival of Inspector Goole. Shattering the equilibrium with his incessant investigations into the demise of a young woman, his ever-shocking revelations unravel the very core of the family, forcing them to question behaviours, actions, motives and perhaps, challenging us all to examine our consciences.

The stark contrast of an entitled, greedy, family who had it all, against the story of a poor, hardworking, young woman who had nothing, except courage and morals is not an unfamiliar one, but Priestly tells it so well. Then, when she tried to do the right thing, protect others at the cost to herself and sought support from those who had more than enough to help, she had everything stripped from her and was left with no option but to take drastic action, the tale is gut wrenching in every sense. Think ‘Columbo’ as the Inspector establishes that each of them has played a part in the girl’s decline and ultimate demise, either through selfishly pursuing their own interests or through careless disregard or cruelty. We know the crime, but we don’t know who was responsible, and how. The twists and turns keep you on the edge of your seat throughout and there were audible gasps more than once from the audience.

With no interval and a limited cast, the production was intimate and intense, which added to the tension. The staging from Ian MacNeil’s, with his brilliantly intricate design, never failed to surprise and impress. Unfolding before your eyes the set came to life and then became undone, as if it were a player in itself. The cast utilised the stage to perfection, and what could have been a dialogue heavy, stilted production, was instead, dynamic and punchy.

Liam Brennan as Inspector Goole, Simon Cotton as Gerald Croft and Jeffrey Harmer as Mr Birling gave powerful performances, bringing to life and fleshing out each character. Christine Kavanagh as Mrs Birling and Chloe Orrock as Sheila Birling were sublime as mother and daughter, but George Rowland as Eric Birling stole the show. His development and nuances were perfection.

There is no doubt in my mind why An Inspector Calls is a Winner of 19 major awards and hailed as the theatrical event of its generation worldwide, and this particular adaptation is a must-see performance.

Richmond Theatre – until Friday 13^th January 2023 

Reviewed by Carly Burlinge  

5***** 

Richmond Theatre brings you Swan Lake presented by Nerubashenko Ballet in collaboration with The International Classic Ballet Theatre, with a hand-picked company of international ballet artistes. The well-known classic composed by Tchaikovsky that is adored by audiences across the world.  

Swan Lake unravels a beautiful, timeless story of love and betrayal; Prince Siegfried, admired by many, but none who catch his attention. Until a beautiful, flawless, crowned swan, Odette, captures his vision as well as his heart. However, the evil magician Rothbart has enchanted Odette along with other young ladies, to spend their lives as swans, except for a few hours every night, when they return to their human form. The only way to break the spell is with true love and fidelity, which the Prince declares with his eternal love for her. Later Prince Siegfried is tempted by another, Odile, the daughter of Rothbart, and breaks the vow leading to Odette’s death. With nothing but despair and guilt on the Princes part, he ends his life in order for Odette to be freed.  

Throughout this production Odette offered much structure and elegance entwined with beauty along with a nicely balanced pairing with the Prince, who offered a supporting yet phenomenal performance. Together they portrayed perfection and excellence for all to see.

Rothbart floats across the stage embodying darkness with dishonourable intent.  

The Jester, on the other hand, with his bright, colourful presence I feel held the story together with a touch of comedy and light entertainment, gaining much laughter from the audience.  

Although there weren’t many scene changes, those that were used made a big impact and enhanced the story being told. I loved how all of the scenes offered great shadowing with the use of lighting. To be able to view the orchestra was sensational! Listening to every gentle, yet powerful tune being played live before me was dramatic and outstanding. The orchestra often took my eye away from the stage. So many talents in one production!  

This was the first time that I have ever experienced the ballet, I had no preconceived notions or expectations and I can truly say that the experience for me was breathtakingly beautiful.  

Jack Studio Theatre – until 14 January 2023

Reviewed by Claire Roderick

3***

Inspired by Wolfgang Borchert’s short story Das Brot, Alan Booty fleshes out the characters of Hermann and Martha in this charming play, giving a greater understanding of Martha’s compassion when she discovers her husband’s dishonesty.

Set in Hamburg in 1948, when food and electricity were rationed tightly, a sneaky night-time snack causes problems. Martha (Joanna Karlsson) wakes up alone in the early hours of the morning, hears a noise in the kitchen and discovers her husband Hermann (Alan Booty) standing over a loaf of bread. Seeing her half awake and confused, Hermann jumps on her statement that she heard a noise, and doubles down on this lie with decreasing enthusiasm as they sit with the elephant in the room between them on the breadboard. Whether Hermann is oblivious to the fact that Martha knows the truth that he has taken a slice and keeps giving him opportunities to come clean, or whether he is too ashamed to admit his betrayal and determines to bluster on regardless is unclear, but Hermann’s act of selfishness and his attempts to distract his wife, and Martha’s disappointment and pity are written sympathetically by Booty. Booty also directs, keeping what is essentially a conversation over a kitchen table engaging with gentle and natural movement around the stage.

Booty’s knowledge and research of Hamburg shines through, and there are historical titbits scattered throughout the script. With younger characters, this could get a little stilted, but with a couple who had grown up together and been married for 39 years, this sort of meandering reminiscing is completely recognisable to anybody with aging parents or grandparents. The hardship and uncertainties of post-war Germany fade away as they talk about their parents and childhood gang – always coming back to the guilt they feel at standing by and letting things happen in their youth as they also question their lack of action as adults and continue to try to come to terms with the rise and impact of the Nazis. Martha’s worries about her mother in Berlin and the snippets of information about the terrible conditions in the Russian zone add the tension of survivor’s guilt, gnawing away at Martha in the small hours.

Joanna Karlsson is wonderful as Martha – deceptively frail and gentle, but ultimately showing where the true power in the relationship sits. Alan Booty has the showier role making the most of the comedic sections where Hermann tries to distract/bribe Martha, but also capturing the guilt, shame and overriding love for his wife.

The Loaf is a gentle but absorbing play portraying enduring love in the aftermath of war humanely and compassionately. Well worth a look on future runs

Southampton Mayflower – until 29th January 2023

Reviewed by Lucy Hitchcock

5*****

A multi award winning show, from the direction in Bartlett Sher has come to Southampton and you would be a fool to miss it!!

Charlotte Kennedy as Eliza Doolittle is outstanding. Her incredible depiction of the well loved role is excitingly fresh-with clever quick wit and a voice to knock your socks off, she never misses a single beat. Her character arc is so clearly laid out, that you can physically feel yourself willing her to adapt and get her vowels right. In the presence of Henry Higgins (Michael D Xavier) this is a perfect duo. The 2 are encapsulating, bouncing off of each other like magnets and are able to change the tone In The theatre with a single look. At some points, you could hear a pin drop as the audience were in anticipation. Xavier has an enthralling voice, which, when mirrored with his impeccable comic timing and fantastic facial expressions, creates a wonderful show. Adam Woodyatt and John Middleton also join the cast as Eliza’s father, Alfred, and Colonel Pickering respectively. These two were perfectly cast, with Middleton being the perfect gentleman and Woodyatt embodying the perfect drunkard! During the song ‘Get me to the Church on Time’ we really saw the extent of Woodyatt’s talent, as he commanded the stage with ease-and a smashing voice. Lesley Garrett, as Mrs Pearce, was the perfect ‘housemaid’ type character. Her stunning vocals were a joy to listen to and she was a sterling member of this cast. Every single member of the company should be proud, as the show could not run with any of them. 

Micheal Yeargen’s sets were unfalteringly breathtaking. It felt as though the stage had been picked up from London it was that impressive. When we first saw the office of Professor Higgins, I could not believe my eyes-my jaw was dropped. The sets are magnificent and it was a privilege to see the intricacies and opulence shown. At some points, I didn’t even notice the scene changes-it was that slick and well rehearsed. I was in awe. Catherine Zuber’s costumes were also exquisite-perfectly placed and each costume told a story-a feast for the eyes. 

This astounding production of Lerner and Loewe’s phenomenal show will excite and enthrall you. With its stupendous cast and visually tantalising set, this truly is “loverly”

Bristol Hippodrome – until 21 January 2023

Reviewed by Lucy Hitchcock

3***

From the minds of Marshall Brickman, Rick Elice and composed by Bob Gaudio with lyrics from Bob Crewe, comes Jersey Boys.

The wonderfully toe tapping spectacle depicting the conception and rise to fame of ‘Frankie Valli and The Four Seasons’ has a great cast with some amazing talent.

Starting with a narration from Dalton Wood as ‘Tommy Devito’, this is a piece that will have you wiggling in your seat from the very start. All members of the Four Seasons (including Dalton Wood) Blair Gibson as ‘Bob Gaudio’, Christopher Short as ‘Nick Masai’ were great and showed real passion for their roles. It was a joy to hear their voices blend as a group and during some highly emotive moments, such as the eventual break up of the band, encapsulated the audience. When coupled with Ryan Heenan as ‘Franki Valli’ this was a true likeness of the band, with Hennan grasping Valli’s quintessential high, nasal qualities.

The cast was a standout, but a particular mention must go to Damien Winchester, who played a variety of roles. Every scene he was in, he stole the focus with his quick wit and great voice-even managing to do so during the Finale!!!

This is a great piece that will truly have you wiggle and jiggle in your seat as you hear some blasts from the past. With the wonderful red blazers, lights and vocals, you will be the closest you can be to the real thing!

New Wimbledon Theatre – until 14 January 2023

Reviewed by Philip Brown

5*****

The Commitments ride once again!   Get ready ladies and gentlemen, to put your working class hands together, to pinch a phrase, and applaud a fervent feast of feel-good.  And while you’re at it, prepare those working class feet for action.  Based on a debut novel by Roddy Doyle, The Commitments has been entertaining audiences across 5 decades, spawning a Bafta award winning film in the 90s along with 2 hit (platinum and gold) soundtrack albums, a successful, long running musical in the 2010s and, on this evidence, a stonking revival of the stage show to brighten up the 2020s..  For any hermits who may have missed out on all all this history, the story is simple  – young working class youths from the north side of Dublin form a band.  But it’s all about the way you tell ‘em and this is told exceedingly well.

It’s really a show of 2 halves.  The first necessarily sets the scene and the band’s early development, whilst the second has more songs and sees the band in full-on gig mode building the intensity to an exhilarating finale that did have the audience out of their seats dancing.  

Things kick off with a powerful ensemble number (Proud Mary) before switching focus to the main story – a couple of buskers Outspan (played by Michael Mahoney) and Derek (Guy Freeman) who give up on their current band in disgust at the lack of impact their “art school shite” is making.  (Get used to the word – it and others are well used in the show).  They consult local musicologist Jimmy Rabbitte (James Killeen looking uncannily like a young Stephen Mangan) about their lack of success.  In an imaginatively and comically choreographed scene at Jimmy’s house with his unreconstructed Da (Nigel Pivaro – lovely cameo), they audition recruits, who qualify by having soul as well as not coming from the south side, for the world’s hardest working band.  Meanwhile, Jimmy expounds on how to be different, soul, and what’s “in”. According to Jimmy, what’s “in” is real sex (not mush), so “the time has come to put riding back into rock ’n’ roll”.

Enter lead singer Deco (quite brilliantly played by Ian Macintosh), followed by the rest of the band which memorably includes the much older Joey the Lips Fagan (a beautifully enigmatic Stuart Reid) – a trumpet player full of biblical attitude, libidinous intent and the dubious claim he has  played with all the soul greats in the States.   Jimmy tutors the newly assembled band in his philosophy – songs should be about where you’re from and the people you come from – with the Irish being the Blacks of Europe, Dublners the Blacks of Ireland, and the north side the Blacks of Dublin, “Say it aloud, I’m Black and I’m proud” (to quote the great James Brown).  The Commitments along with the wonderful trio of female backing singers – the Commitmentettes – take to the rehearsal room, their first gig at the local Community Hall and then hit the road with a repertoire of some of the greatest 60s and 70s soul music ever written.

There were many notable moments – too many to single out each and every one.  The writing is excellent – very funny with memorable, realistic and sharp dialogue.  The performances are well honed with precision timing – every punchline delivered to the millisecond.  The two leads, James Killeen (as Jimmy), and Ian McIntosh (as Deco) excelled.  Ian McInstosh in particular has a wonderful voice for soul music and is a spectacular performer.  The musicianship was exemplary.  The Commitmentettes – Imelda (played by Ciara Mackey), Natalie (Eve Kitchingman) and Bernie (Sarah Gardiner)  played the backing vocalist role to perfection but each also shone taking lead vocals on some songs.  Ronnie Yorke (playing Mickah/Ray) had an amusing/threatening cameo as doorman/security and then showed his versatility by taking over the drum stool as the inevitable personality clashes over Deco’s timekeeping splintered the band.  For me, one of the revelations of the evening was the beautiful performance of “It’s a Thin Line Between Love and Hate” originally by the Persuaders

The Commitments is a thoroughly uplifting show that will linger long in the memory, but there is also something pleasingly recursive about its timing.  Roddy Doyle was right about authentic Motown and Memphis soul music being timeless.  The original story is about the “saviours of soul” reengaging an audience brought up on anaemic “art school shite” with genuine, gutsy music that goes beyond musical fashion.  Every revival of the story serves to reintroduce a superb catalogue of music to a new audience, and judging by the New Wimbledon Theatre last night, it’s going down a storm.