Book of Mormon at Sunderland Empire

Life of Brian meets South Park in this outrageously funny musical; don't be afraid to laugh, loud and long.

The creators of anarchic ‘kids’ cartoon South Park, Matt Stone and Trey Parker have written one of the all time funniest musicals, jampacked with fun-poking, heckle-raising, unbridled (and unapologetic)  attacks on one of the most elusive religions in America.  In doing so, they have given the current ultra-PC society a fantastic escape where you can laugh out at bigotry, snort with derision at the fallacies of religion and struggle to breath with the sheer ‘middle finger to tradition’.

The tale is of two Mormon missionaries, teenage boys who are destined, by their culture, to set out to a distant place and bring the teachings of The Church of Jesus Christ of Latter Day Saints.  For our two starlets, Elder Price (the all American, god fearing, 3^rd gen Mormon – played by Kevin Clay) and Elder Cunningham (the chubby misfit whose attempts to fit in lead him to fantasise or dare we say embellish the teachings of Joseph Smith – played by Jacob Yarlett) their paths are mashed together and they are sent over to Uganda to attempt their conversion in deepest, darkest Africa.

Elder Price, the brightest elder in his class,  had long been hoping for his mission to be in Florida while Elder Cunningham had just been hoping not to be left behind and maybe make a friend, so their journey was not one either would have chosen, but they endeavour to do their very best.

The African village is in the grasp of an evil dictator (with possibly one of the funniest names ever written, but for sensitive eyes I will not repeat it here) so not only do the missionaries have to overcome the villagers’ scepticism, they also need to challenge the guns and brutality that prevents them from choosing their own path.  Village sweetheart Nabulugi (the wonderful Nicole-Lily Baisden) finally recognises that the Elders have a story to believe in (though it is Elder Cunningham’s version they are told, complete with his addition of some less than authentic characters and events) and manages to convince the rest of her tribe to accept their teachings and convert.

For anyone who has watched South Park (either the TV show or their 1999 feature movie Bigger, Longer, Uncut) you know that Stone and Parker will never shy away from ripping open society and inserting their own observations with a locker-room attitude.  Origins of religion, Disney corporation and American obsession with their past are mashed up with FGM, racial oppression, homosexuality and even Brexit and given a high-octane make over with some brilliant songs and dance routines.  Casey Nicholaw’s choreography and Colm O’Regan as musical director have created ‘Broadway plus’ with the showstopping scenes jam packed with glitz and glam.

Book of Mormon is, without doubt, for those who are not easily offended (or those who feel that in today’s climate they have become so desensitised that they need a big boot up the behind to remember how to be offended again).  The audience reactions are split between laughing out loud and gasps of faux indignation but above all else, it is a wonderfully safe environment in which no one will judge you on what you find funny; let rip with the belly laughs, it's good for the soul.

The Book of Mormon is running at Sunderland Empire until September 14^th with tickets still available.  Sunderland Empire is one of the best theatres in the UK for musical productions and their embrace of BOM makes it the perfect evening.

https://www.atgtickets.com/shows/the-book-of-mormon/sunderland-empire/

Les Miserables at Theatre Royal Newcastle

THE must see production of our generation, this is phenomenal theatre which redefines excellence.

Based on Victor Hugo’s story of the French revolution and blending sin, redemption, hope and despair, Les Mis is as relevant and compelling in today’s society as it was in the mid 19^th Century. 

On tour and bringing over 30 years of West End success, this is an opportunity to join in the revolution at one of the country’s best venues for amazing theatre.

The sets are epic, scenes mould and flex right before your eyes and are magical in the way they change; the lighting and use of projection is breathtaking and the sound, especially during the battle scenes, is reminiscent of Hollywood war films, the audience ducking and shaking as gun shots and ricochets whistle all around the auditorium.

Last night we witnessed, in abundance,  a normally very rare occasion in live theatre – complete silence.  Silence as the audience sat transfixed through every scene, breaths held in awe and anticipation; silence used brilliantly by the cast & orchestra to heighten the drama and of intimate scenes as a counterpoint to the intensity of the impending battles and, at the end of two particular songs, Bring Him Home and On My Own, a full second of spellbound silence before the audience erupted into applause. 

Killian Donnelly as Jean Valjean gives a brilliant portrayal of a man consumed – initially by his desire to escape, then by his own disillusionment of society as he is shunned (despite his desire to make something good of his life) and finally trying to make peace with his past and protect the future of his family.  Donnelly’s range and emotional input ensure that the audience share his raw anger in Who Am I and his angst and turmoil in Bring Him Home.

Nic Greenshields plays Javert, the former prison warden turned bounty hunting law maker who crosses paths again and again with Valjean, their fates entwined like two ivy vines each striving to fulfil their own destinies.  Nic portrays Javert as a larger than life man, huge stage presence with a palpable obsession for law and order.  The dynamic between Donnelly and Greenshields is of such constant tension that it is almost a relief when Javert, unable to stand Valjean’s hold over him after saving his life,  jumps into the Seine (a scene which brilliantly makes use of stage and projection)

The other standards which have become musical theatre folklore include the riotous Master of The House (which needs very close watching to catch all the tricks and stunts), the heartbreaking I Dreamed a Dream and the anthemic One More Day, all of which are set and choreographed so perfectly that it is impossible to think of anyway they could be bettered.

For anyone who has watched and enjoyed the star filled Hollywood film version (with Hugh Jackman et al) this production is how Les Mis SHOULD be watched.  It is a piece of art and entertainment that defines excellence and brilliance and Newcastle Theatre Royal is the perfect host.  I am sure the ghosts of productions past were joining the full house in the 5 minute standing ovation.

This Cameron Macintosh production of Les Misérables runs at Newcastle Theatre Royal until 5^th October with tickets and availability here - https://www.theatreroyal.co.uk/whats-on/les-miserables

Educating Rita 2019

A magnetic performance, as fresh, witty and relevant today as it was 35 years ago.

Educating Rita, written by Willy Russell, is the tale of a working class hairdresser and her desire to break free from her everyday existence by taking an Open University course in English Literature.  Her tutor, Frank, is a long in the tooth, cantankerous alcoholic lecturer whose disdain for the modern approach to learning is only bettered by his hatred for an empty bottle of scotch.   Indeed, Frank only agrees to take on an Open University student in order to pay for his bottles of booze and yet, very quickly he sees in Rita a freshness, an unsullied mind and an unpretentiousness that challenges his jaded and tainted outlook on life.

As a play, this two hander is solely performed from the confines of Frank’s study, designed by Patrick Connellan – set with bookcases, piles and piles of volumes and copious bottles of ‘hidden’ scotch – where the simplest of props, the study door, the waste paper bin, the flower vases are all cleverly used to create a richness to the interaction between student and teacher. Brilliantly directed by Max Roberts, you aren’t so much drawn into this world as sucked headlong and enveloped so deep I could swear you could taste the dust and smell the must.

Playing Frank, Stephen Tompkinson, gives a masterful appreciation of the abject resolution that at some point in life “is this it?” seems to be the most oft used phrase, even if it is in self-denigration.  Challenged by Rita’s unbridled hunger to learn, he portrays both tutor and father figure with equal amounts of paternal care and longing to be young again.  Indeed, Tompkinson brings a lot more of a father figure to the role than merely a university lecturer.  The journey he takes us on is akin to a parent watching their offspring move from wide eyed 13 year old starting out on secondary education (and asking questions on everything) to the know-it-all 18 year old who sees their parent as merely a hindrance.  His frustrations towards the end (and the increased drinking that accompanied them) are not borne from Rita’s changing attitudes so much as Franks inability to accept his work was done.

Rita (or Susan as is her real name) is played by Jessica Johnson, local born, who gives a maestro performance.  Her machine gun delivery and the typical convoluted journeys that people love to take when trying to recount a simple event feel comforting familiar.  Her outwardly brash attitude which belies a delicate and vulnerable core is perfect and her journey through self awareness and realisation is magnetic.  In particular, her frustration with the constraints brought about by assumed societal positions is palpable and very relevant to today’s approach to class and culture. 

Fans of the film will not be disappointed by this latest stage production and the standing ovation from the packed first house was testament to the brilliance of the cast, a 5 star performance.

Rocky Horror at Newcastle Theatre Royal

Rocky Horror at Theatre Royal Newcastle

For many, many years, Rocky Horror has been synonymous with late night cult, dressing up and Sci-Fi ‘B’ movies, audiences resplendent in their stockings and basques and lead actors trying hard to emulate the perfection that is Tim Curry.  For many attempts it rates as good fun but this most recent production takes the spectacle into another realm, that of bloomin brilliant.  Any fan of Rocky Horror MUST see this version (and I know, this was the 25^th different production I have seen) – it is as close to the original stage and screen production but with bang up to date set and lighting.

Everyone going to see Rocky probably knows the story; teenage couple get stranded at a strange lodge and endure a night of passion, confusion, fear and ultimate realisation. The themes of 50’s sci-fi and the fear of the unknown are still relevant today but lets be honest, this show isn’t watched for its social commentary,  we want sex and drugs and rock ‘n’ roll.  Frank ‘n’ Furter, the crazed alien doctor hell bent on creating the perfect man is played by Duncan James (he of Blue) and to be honest, the BEST Frank I have seen.  His portrayal of a sex crazed megalomaniac is brilliant – part dominatrix, part innocent child but all RHS.  Callum Evans plays Rocky and is probably the ultimate specimen of man; toned, tanned, fit and ready as a certain Dogg would say. 

I have seen Rocky through 25 different productions (since the original RHPS) including ‘star’ billing, West End and anniversary shows but this one, with Duncan James as Frank is the ultimate – he is perfection worthy of rivalling the master Tim Curry.  Resplendent in feathers, dominant in a basque yet vulnerable in every scene (no more so than the tear jerking Cards for Sorrow Song) Duncan is, after 30 years of watching, my favourite Frank.  Joanne Clifton as Janet is wonderful, her progression from prissy virgin to wakened woman is brilliant while James Darch as Brad keeps the stiff Mid-American expectation that men are men and women are women. Steve Punt brings his brilliant comedic wit and timing to the narrator, never phased by the predictable heckling yet all too original in his put downs   The supporting cast are also worthy of mention, in particular Laura Harrison who opens the show as the Usherette and sets the whole show perfectly  – it feels like watching real fans of the original RHPS getting their chance to play their favourite parts and they do so with perfection.

The complete show, brilliantly directed by Chris Luscombe, set by Hugh Durrant and perfectly lit by Nick Richings, gives a 70’s ethereal feeling backed by an ultra-modern high tech set and light show that brings the audience right into the party , steps back to the original ’73 production but keeps everything fresh and new. The whole cast appear to be real fans of the original and, a such, their portrayal of their roles is perfection – homage to RHPS and yet keeping the raw, real feel of live theatre.

Rocky Horror Show is at Newcastle Theatre Royal until 10^th August