Flashdance at Sunderland Empire

The 3rd biggest movie of 1983 (behind Return of the Jedi and Terms of Endearment) gets its leg warmers back on for a high octane dance fest filling theatres and delighting dance fans of all ages.

Since Tom Hedley penned the story of a dancing welder in Pittsburgh way back in the early 80’s the world has changed but one thing that has remained constant is the public love for a great story, brilliant dancing and of course, iconic songs.  This current incarnation, directed by Hannah Chissick and with world famous Joanne Clifton as the lead Alex Owens, has been brought right up to date with stunning use of digital screens, hi-tech lighting and some very recognisable choreography.

The story, for anyone who has lived in a cave for the past 30+ years is split across 3 arcs with Alex the thread between all 3.  She is an apprentice welder by day and wannabe dancer by night who befriends the steel mill owner whilst trying to save her best friend, Gloria (Hollie-Ann Lowe and a definite rival for star of the show) from ending up at the local sleaze bar & strip club.  Along the way Alex has to decide between trying to conform to the expectations of society and remaining true to her own passions and does so through such eternal favourites as Gloria, Maniac, and What a Feeling.

The original movie was noticeably lauded for its approach being somewhat akin to the infant MTV – it was purposefully shot like a series of individual music videos stitched together by the story and this stage show retains that feel.  Sadly though, this doesn’t always make for coherence when being viewed on a live stage.  For all that the stories interweave, there were times where they felt they had been written by 3 different people, in separate rooms and then pushed together to form the whole; the pacing was a little inconsistent and some of the numbers felt like fillers before the next well known song.  This in no way detracted from the cast’s delivery but just meant it felt a little stilted.  That said, the dance numbers, compiled by Matt Cole, were like a who’s who of 80’s dance icons – Madonna, Michael Jackson, Paula Abdul, Janet Jackson and of course the original Jennifer Beals’ moves all play heavily into each routine.

The set design by Takis was ingenuity at its best; the use of LED display screens to seamlessly move the action from steel mill to dance studio to bar to apartment meant there was very little down time at all and by using the cast to move the 2 screens and stair cases kept the flow of the show without dropping a beat.

It was very clear from the sell out audience that this show, its parent movie and the soundtrack remain ever popular.  The iconic songs have become woven into the 80’s consciousness (though I don’t recall the Joan Jett standard “I Love Rock ‘n’ Roll” featuring in the movie) and coupled with the dancing are sure to delight any dancers or dance students – even to my untrained eye it was an impressive display and one which will undoubtedly continue to delight.

★★★

Young Frankenstein at the Theatre Royal

If Laughter is the best medicine, the Dr will see you now !

Are you sick of turning on the TV only to be met by scenes of doom, gloom, Brexit, Trump, ‘NOKO’ and the ever failing economy ?  Then the remedy is simple – turn it off again, grab your coat and head for Mel Brooks’ Young Frankenstein.

This monster musical is based on Brooks’ Oscar nominated movie of the same name and if the reaction of the Theatre Royal crowd is anything to go by, it’s about to smash the West End.  It is unashamedly funny, deliciously dark and dirty in equal measures and makes no apologies for at times being just down right daft – and that’s what people will love most.

The story pays homage to all the old horror films made great in the 30’s and 40’s that were then recreated by Hammer, Roger Corman and Richard O’Brien in the 60’s/70’s but from the opening song there is no mistaking that this is Mel Brooks; brilliant, witty, sexy, Mel Brooks whose love of Jewish culture, vaudeville, slapstick and women’s bodies have already made hits of Blazing Saddles, Spaceballs and The Producers (to name but a few).

The cast are all brilliant and clearly have bought into the Brooks mindset of don’t let the audience dwell too long on one joke before hitting them with the next, it keeps things feeling fresh (and makes for repeat ticket sales, I reckon you need to see it 3 or 4 time before you’ll feel you’ve managed to see everything).  Hadley Fraser has a most difficult task in replicating the wonderful Gene Wilder as Frederick Frankenstein yet gives the audience enough of himself peppered with Wilder-isms to never be guilty of just copying the original.  He tackles the super-fast wordplay with aplomb, can sing and dance with the best of them and never missed a cue despite having some of the most beautifully distracting legs to play opposite.

Fans of Brooks’ films will recognise many familiar themes; the scene introducing Inga (the gorgeous Summer Strallen) as Frankenstein’s assistant echoes Ulla’s first day for The Producers, the play between Frankenstein and the irrepressible Ross Noble as Igor has the same warm humour as Sherriff Bart and The Wacko Kid and even the Monster (Shuler Hensley brilliantly filling the big shoes) could be a distant relative of Mongo.  Special note to Noble, could there be a better role for his madcap, zany and totally loveable humour ?

Of course, a musical needs songs and once again, Brooks delivers a soundtrack that will surely become a huge hit cast recording.  Both Dianne Pilkington as Elizbeth Benning (Frankenstein’s repressed fiancé) and Lesley Joseph as Frau Blucher (the housekeeper) have solo numbers which don’t so much give an insight into their ideas of love as rip open their blouses and proudly show their heaving bosoms.

This was a wonderful opportunity to see the show before it hits the West End - to be able to say “I saw it first” will be a proud boast over the next few months when it undoubtedly rips up the reviews and gives London an epidemic of aching ribs.  

★★★★★ and a hump