Dreamgirls

Ever wondered just how much soul you can pack into a stage show ?  Well wonder no more as Dreamgirls hits all the right notes.

Book and lyrics by Tom Eyen and music by Henry Krieger, this story of ambitious wannabee pop superstars The Dreamettes has a very familiar feel and yet, despite all the years it has been on stage (and the 2006 movie),  it still has the power to wow, surprise, shock and delight. 

Set in the early 60’s in Harlem, New York, it tells the tale of three singers – beautiful Deena, sassy Lorrell, and big-voiced Effie – and watches their rise to stardom, through heartbreak and out the other side, while simultaneously following the rise of black music and its challenge to the dominant white music industry. 

This is a tale of transformation: from naive hopefuls into jaded superstars, from raw R&B into the disco era, from success to failure, and then back again. The Dreamettes desperately want their shot at the top and as ambition and raw talent come up against ‘the machine’ it is clear that the industry care as much about if your face fits as whether you have the ability.   Tim Hatley’s sets are constantly on the move, creating a succession of stages, dressing rooms and recording studios. Gregg Barnes’s costumes, covered in a boatload of sequins and in shades of ever startling neon track the movement of time, gown by gown (with some awesome quick changes). And respect to Josh Marquette’s hair design – you can see the wigs getting more expensive with every move up the charts.

On a stage full of great singers, Nicole Dennis’s Effie White stands out above all others, her voice switching from a dagger to a whisper. The first act closes with the barnstorming And I Am Telling You I’m Not Going (a song that in the wrong hands could easily be And I Am Yelling...) and Dennis’s Effie is defiant even as she’s crumbling. Her massive voice rips through the auditorium, the killer line: “You’re gonna love me” addressed first to the man breaking her heart, then direct to the audience. “You’re gonna love me,” she growls again, and it’s not an appeal, it’s an order. And we do.

For some, Dreamgirls will not be their kind of musical - make no bones about it, this is huge, incredibly noisy and with the emotional impact of a wrecking ball coming right at you, but it is performed with such commitment and passion that you can’t help but smile with pleasure throughout.

Showstoppers at the Palace Theatre

Fans of musical theatre will always have their favourites, whether it is because of the story, or the songs, or perhaps a leading actor.  For many they will follow this show, seeking out new tours and reliving the known and expected enjoyment.

Imagine though, if you had never seen a musical before, never heard the songs, didn’t know the story and in fact, no one had, how would you feel about spending an evening ‘breaking new ground’?  well, fear not, because Showstoppers, the brilliantly funny and super talented improv musical show gives you such an opportunity every time they take to the stage.

Couched in the premise that the ‘Producer’ needs a brand new smash hit musical in just one evening, the Director begins by engaging with the audience to find out their own preferences and ideas.  Encouraged to call out show titles, the audience offered favourite musicals on which the night’s show would be based – for this evening the consensus was Little Shop of Horrors, Rocky Horror Show, Wicked, Avenue Q and Joseph  . We then were asked for a venue / setting and, after an audience vote (by applause) we landed on the Winter Olympics In South Korea.  Finally, as all great shows do, we needed a catchy title and again, after many suggestions, Piste Off was the winner.

So, onto the show – the cast began to create a story around the Olympic athletes, their passions, loves, fears and history, all interspersed by some mind blowing improvised show tunes and rib-breakingly funny jokes.  Every now & then the director would freeze the show and interject with a shift in style, a plot twist or a revelation but on the whole he was just as much in awe of the spontaneity of the creations as the audience were.  We had a unique take on the Time Warp, some Wicked style downhill luge and a wonderfully naughty set of makeshift puppets doing their own snow based Avenue Q.

At the interval, the audience were asked to proffer their ideas for how the 2^nd act would commence, all via Twitter, with many suggestions actually making it into the show (including some rather bizarre love triangles and an appearance by a WADA official).  The 2^nd act continued with the cast maintaining their foray into satire, pastiche, homage and just plain old micky taking - the rap battle a la Hamilton was the highlight for most people.  Ending the show with some Scooby Doo-esque flashback/jump forwards time travelling, you were left in no doubt that you have just witnessed brilliance.  The only sadness felt was that, as everything was improvised on the day, no one would ever get to see Piste Off again.

If you ever get the chance to see one of The Showstoppers performances, grab it with both hands, brush up on your knowledge of musical theatre and strap your ribs up very tightly.

★★★★★

New Jersey Nights at Darlington Hippodrome

To many, Frankie Valli and the Four Seasons provided the soundtrack to more than 3 decades from the 50’s to the 70’s, but it’s testament to the quality of their music that so many of their hits are recognised by todays younger listeners, both in their original form and through covers.

New Jersey Nights is a high octane, non-stop show which whistles through the catalogue with each of the four,  Joshua Dever, William Hazel, Duncan Heather & Ricky Rojas sharing the distinctive falsetto rich lead, ably backed by an equally energetic rock band. 

With such a huge list of hits, the danger was what would have to be left out, rather than what was included; for true fans there were some abridged versions which may have left them feeling a little short changed, but there was little time to lament a few missed verses as the familiar chords of the next mega hit kicked in.

Hits like Walk Like a Man, Sherry, Oh What a Night, Can’t Take my Eyes Off You, My Eyes Adored You and of course the title track from the musical Grease kept the audience singing and dancing throughout the evening.  A brief interlude (no doubt to let the guys rest their throats from hitting the Valli-esque high notes) had the three backing dancers perform a couple of Phil Spectre ‘Wall of Sound’ tunes, further adding to the richness of the acoustic treats on offer.

Whilst this is not the Jersey Boys approach to retelling the bands’ story, the cast do manage to bring some trivia, background and no shortage of humour, making this more than just a greatest hits show.  Perhaps most telling was that even on a snow blighted Tuesday in January, the theatre was well over half full with every age up and dancing during the medley encore, a great way to start the new year and guaranteed to have everyone humming tunes on their way home. 

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.

★★★

The Full Monty @ Darlington Civic

Over the years there have been a myriad of theatre shows which have been borne from successful movies; Flashdance, Footloose, Sister Act, Priscilla Queen of the Desert, Kinky Boots to name but a few. Usually they are ‘adapted for stage’ which means recognising the constraints of limited scene changes, streamlining dialogue to keep the pacing fresh or losing the copyright permissions to use original soundtracks, and because of this, many people are left feeling a short changed that they’re not seeing their beloved movie made flesh.  The Full Monty bucks this trend completely; the original screen treatment was written by Simon Beaufoy, in fact it was his first screenplay, and it is Simon who has penned this stage production; with it he has retained all the humour, the pathos, the punchlines and the politics that made the original the global smash hit. 

The story hasn’t aged at all; due in part to the fact that, despite the bawling hysterics of the hordes of hen parties who regularly attend desperate to catch a glimpse of the naked male form, it is a story about life, love, families and relationships, but also, more sadly, because the economic and political climate of the Thatcherite 80’s is in danger of coming back to haunt us again – for Sheffield Steel now read Redcar or Doncaster or Motherwell.  It is a very British trait that allows us to sympathise with men who have had their livelihoods removed with very little scope on the horizon but then to laugh at them clinging hopelessly to the routines of the 9-5 by visiting the park or the bus shelter; I know personally how demoralising and emasculating being out of work can be but deep down we don’t lose our sense of humour, even if the object of the jokes become ourselves.

The story, for anyone who has lived in a cave for the past 30 years, is about a group of steel workers in Sheffield who, having been made redundant 6 months ago, reach desperation in both financial and emotional terms.  Driven by a need to show he can provide for his son, Gaz (brilliantly played by Gary Lucy) has tried every route to raise some cash (all of which are dubious to say the least) until he stumbles on a Chippendales night at the local club and realises that there is a huge market for male strippers.  Of course, the Chippendales are all Adonis’s – toned and tanned, whilst Gaz’s gang are normal blokes, a mix of middle age, middle of the road and middle England but what they lack in physique they more than match in guts and self-depreciation.    Realising that they need an extra hook to attract the punters, Gaz decides that, for one night only, they will perform ‘The Full Monty’ – stripped down to nothing but a hat and a smile and so begins their hilarious and touching training and practise.

The set for this show is possibly the most imaginative, visually stunning and complex I’ve seen here at the Civic – it resembles the interior of the steel works, complete with 7 tonne blue crane (nicknamed Lady Maggie), loading bays and security gangway.  Flown into this are a series of extra scenes which make up the Conservative & Labour Clubs, the Job centre, the park and the rear alleyways, all of which are brilliantly designed and expertly installed.

As mentioned earlier, the soundtrack remains true to the movie – the main theme, a lilting reggae/ska hook written in a minor key is ever present whilst the dance routines are performed to the strains of Wilson Pickett, Donna Summer, Hot Chocolate, James Brown and, of course, Sir Tom Jones’ “You can leave your hat on”.

The cast too are very close to the original movie and this ensures that the dynamics, so crucial to bringing more than just slapstick belly laughs, are easily recognisable.  Gaz’s calorie-challenged best mate is perfectly played by Martin Miller, on the front of it a funny fat lad but with plenty of insecurities underneath making his self-depreciation all too real.  The timeless Louis Emerick plays Horse and it’s a real treat to see him live on stage, he’s got expert comedic timing and is no stranger to dance moves either.  Baby faced Bobby Schofield plays Lumper, the half hearted suicidist who finds himself drawn to Guy, the toned & tanned surfer dude to which Rubert Hill brings his ‘super-sized’ talent !.  For this performance Nathan, Gaz’s son, was played by Ewan Phillips – Ewan was brilliant, held his own amongst the adult stars, displayed fantastic comedy timing and certainly didn’t hold back when given the chance to enjoy the banter with Lucy.  Completing the men’s line up is Andrew Dunn, one of the UKs finest comedy actors and a stalwart of TV & stage, in this he plays the lads former foreman who, like them, has been out of work for months but has yet to even tell his wife, scared of what she will say but also scared of her continued spending.

In all, whilst this show continues to attract a 95% female audience, it is not a show about male strippers (although the final number doesn’t fail to deliver) – it is a story about friendship, hardship, despair, sexual equality, impotence, suicide and the resolve of the human spirit – not normal ingredients for a feel-good musical but boy does it work – just remember to bring your hankies. 

South Pacific by Darlington Operatic Society @ Darlington Civic

The South Pacific - A vast expanse of emptiness dotted with little island gems

The world was a very different place when Rodgers and Hammerstein created South Pacific.  It was larger, less travelled and as such, more mysterious.  Peoples' opinions and beliefs were more rooted in the culture of their home towns and prejudice sat silently behind every decision.  On one hand, the story is a fun loving musical about an American base on the farthest reaches of Uncle Sam's West Coast frontier - on the other hand it is a veiled attempt at painting a twee fairy tale of good overcoming evil and love conquering even the staunchest of bigotries.

The set-up is typical R and H - introduce a strong, powerful, confident bachelor with a long established routine and an honourable, if somewhat distant, reputation.  Add to that a young woman, pretty, simple yet determined who creates a maelstrom that rips through his ordered life.  Slip into the background some lovable 'rouges' and a presumably innocent side story and, hey presto! you've got a musical.

Darlington Operatic Society again shows why it is the region's greatest amateur production company – the strength in depth that they have throughout their cast & crew must make many professional companies green with envy.  The sets make clever use of the depth of the stage without ever feeling that they are cluttered yet manage to give a great sense of both the expanse of the Pacific coupled with the claustrophobia of a tiny area far from the mainland.

For most who know this show, there are the key standout parts against which any performer will be judged – Nellie Forbush, Emile De Becque, Lt Cable, Liat, Bloody Mary and SeaBee Billis are arguably the main protagonists on whom the audience will be focussed.  Kat Flynn takes on Nellie with a brilliant mid-south accent and a delightful mix of girly charm and womanly knowhow.  Kat is a much accomplished dancer, actor and singer and this role gives her a wonderful canvass on which to display all her talents.  Even when faced with a tumbling coffee pot she never missed a beat and is able to sing beautifully in character with her American vowels ringing loud and true.  It is rare to find Nellie being played by such a genuinely lovely leading lady, often they have a great voice but struggle to portray the vulnerability of a home and love sick woman thousands of miles away from her comfort zone and for this I think that Kat is the best Nellie I have seen.

Playing opposite Kat is Julian Cound, now one of DOS’s elder statesmen (tho only in comparison to the majority of the cast) and, as they say, with age comes experience, wisdom and calm authority.  He glides through the role with complete assuredness and delivers the now much expected virtuoso solos in Some Enchanted Evening and This Nearly was Mine.  There is much made in the story of the age difference between Nellie and Emile so it was expert casting to ensure this element remained very believable in the two leads.

As mentioned earlier, when R & H wrote this tale the world was a different place where the act of racial stereotypes was not viewed with the same indignation as it is today.  The image of a domineering local woman who will do anything to please the temporary islanders whilst trying to make as much money as possible is not necessarily alien to the current world, but their characterisation of Bloody Mary leaves a less than pleasant taste in the mouth –she does, after all, try to sell/marry off her (very) young daughter and thinks nothing of allowing some ‘pre-marital relations’.  To make this role fit with the feeling of the time without becoming a parody of itself is not an easy task – Mary has to deliver both admiration and repulsion and as such Zoe Kent deserves great credit – we’ve seen from previous productions that Zoe can sing & dance with the best of them but it took only a few minutes on stage for the audience to be drawn towards this character like rubberneckers passing a motorway accident.  Mary is not a nice person, even her delivery of Happy Talk, for many an innocent song of childish rhymes, is laced with the undercurrent of ‘selling off’ her daughter and trying to persuade Lt Cable to agree to the marriage; Zoe brings out this dark side of Mary perfectly.

Michael Hirst, as Lt Joe Cable, is, once again, the chisel chinned hunk of the show, and, for this one, the ladies get to see a lot more of Michael than they have ever before – he keeps Joe distant and quite aloof throughout, never relaxed with either the Seabees or the Officers and always giving the impression that he’s lost without a real purpose until his final mission is approved.  Often, Lt Cable is played as an older guy but it works so much better having a young 20-something to give him the confused, frustrated edge borne from being plunged into the war at such a young and tender age.  Michael manages to maintain this reservedness even when playing directly opposite Zoe Birkbeck (as Liat, Mary’s daughter) – he resists the loutish, over-the-top behaviours the other Seabees display when the girls run by and seems almost embarrassed that Mary pushes them together.  I have to say that this is by far the best acting I’ve seen for years – how someone can feign indifference when being ‘offered’ the beautiful Zoe B must surely rival the acting greats.

The Seabees, led by antics if not by rank by Luther Billis, constantly provide the backdrop onto which the two love stories are projected.  Billis, played by Ben Connor, is the clown, the ring leader, the gang master and yet still has the sensibility to recognise when Nellie is obviously feeling fragile & vulnerable.  Ben has grown over the years from an accomplished singer & dancer to a genuinely funny guy with great comic timing, perfect delivery and an amazing style in bikini tops and grass skirts – it is a like a guarantee of laughs when you see his name on the cast list.  The rest of the Seabees is made from the DOS Boys who are becoming renowned as a comic group in their own right; their mix of characters, styles and vocal abilities (including the amazing bass tones of Ethan Hurworth) has given them a collective identity which could easily transfer into their own comedy sketch show.

Of course, the musical score for South Pacific is one of the best known of all of R & H’s and the sweeping orchestral overtures are expertly conducted and directed by Michael Trotter, for whom this is his final DOS production.  Michael has been instrumental (every pun intended) in bringing the successes that DOS have enjoyed over the past 19 years – it has been Michael’s passion and dedication that has enabled DOS to reach ever upwards, to stretch themselves and to dare to dream of putting on bigger and more ambitious shows, for without the music there can be no musical.  Not only has Michael been responsible for assembling and conducting the live orchestras, but he has also scored the vocal parts and taught complex harmonies for leads and choir alike.

It was very evident when looking around the theatre that a South Pacific audience has a clearly defined demographic – its story and setting doesn’t immediately appeal to the younger theatre goer brought up on Sister Act, Hairspray, Footloose or the Full Monty and yet, due in the main to the excellent DOS production, it is easily worth the ticket price regardless of your age.

South Pacific is on show at Darlington Civic Theatre until Saturday 31^st October.

Blood Brothers Page 2 Stage

I think most people know the story of the Johnson twins …… Willy Russell’s timeless tale of the paths twin brothers lives take when separated only to find fate keeping them together.  It was originally written to be performed within a very intimate setting, often in the round, and certainly without elaborate sets, staging and music.  Since its humble beginnings, it has played to hundreds of thousands and gone from a small story about class and superstition to a full blown modern opera regularly attracting the biggest names in musical theatre.  For sure, people enjoy the headliners; Marti Pellow, Maureen Nolan, Niki Evans are the most recent to tour the nations largest and grandest theatres, but it is when the story returns to its origins, played by a young cast and on a pared down stage that the emotion and power are unquestionable.  For this production, the Village Hall in Eaglescliffe was the venue and the brilliant Page2Stage Performing Arts group were the headliners.

Right from the beginning, the characters felt real, as large as life and utterly believable.  There was no time, nor was there any need for time, to grow into the story as from 1st curtain we were in Liverpool in the 60's.  The accents were spot on, never dropping into parody or becoming comical and, with a sparse set, the focus remained solely on the actors; you didn’t need an elaborate backdrop, nor did you need clever and complicated lighting arrangements, the cast transported you into both the humble terrace and the fancy posh house through simple, brilliant story telling - I swear you could almost smell and taste coal fire smoke and street dust. 

For this production the main roles were double cast – often this is to allow more of the cast to lead and enjoy the thrill of being centre stage, but certainly in professional productions, this simply means two different people playing the same part, same lines and same characterisations.  Not for Page2Stage – the double casting for Blood Brothers tapped into each actors’ strengths and, through the brilliance of Director Kelly, the two shows had very distinctly different feelings.  Sadly, two of the leads for Saturday night were unable to perform (due to illness and an untimely coming together of head and wall).  This meant there was some very last minute re-staging required yet, in total professionalism, there wasn’t a dropped line, cue or beat throughout.

Night one, with Matty Dickens as Micky and Jacob Lynch as Eddie had a very young and youthful approach – the story was very much about two childhood friends whose lives take separate paths, one up, the other down, who then meet again with very different outlooks on life.  Recognising that their once inseparable friendship had run its course, Micky shuns all Eddie’s offers of help and eventually resents his once blood brother’s happiness.  Despite Jacob having rehearsed for the 2^nd night casting and not previously played opposite Matty, the two lads had great chemistry – the early childish pranks were just like best friends’ scrapes whilst the later frustrations had a feeling of sad resolve that comes with losing a friend. 

Matty’s portrayal of the young Micky, complete with pretend shooting, hero worship of his elder brother Sammy (wonderfully played both nights by Fraser Belton as the edgy bully who surrounds himself with younger, impressionable kids) and his awkward attempts at courting Linda were perfectly angst forming. He was just a normal lad, happy in his own skin and content to follow the paths of others before him and Matty has that natural, boyish charm which makes him so believable.  As he suffers knock back after knock back he struggles to understand why the world is against him;  Matty avoids the temptation to have Micky over analyse his fate and instead look for the easier targets to blame; Eddie, Linda, his Mum, life itself – and so it is a quite young man who lies dead in the final scene.

Micky on Sunday was played by Kane Smith and boy did Kane take this role into the darkside – his early Micky still had the boyish fun, innocent yet naughty but he was able to really accentuate Micky’s subsequent descent into self, and world, loathing.  In the full story, Micky becomes paranoid, depressed, manic, reliant on prescription medication and self-destructive and whilst the script was abridged to remove some of the more adult scenes Kane kept the intensity and utter despair rarely seen in even the most professional performances.  His refusal to accept Linda’s unconditional love was heart-breaking and gave the final scene the tear-jerking emotion the show is famous for.

Jacob, as Eddie, brilliantly brought the counterpoint to Micky’s street smarts – he was foppish, innocent, aloof, unsure of himself and obviously protected from the real world by his paranoid mother.  Through the progression from 7 (almost 8) year old to university student, company owner and eventually councillor Jacob ensured that Eddie never loses the feeling that this just isn’t him, he’s still Micky’s friend from the old days and can’t understand why his desire to help is always rebuffed.  Jacob is wonderfully adept at responding to his opposite cast; having rehearsed with one Micky he adapted expertly to the other and never lost the connections between the 2 brothers.

I think the character of Linda is the hardest to play in the whole show – Linda goes from tomboy to lovestruck teenager to newly-wed young mother to widow all in the space of just over an hour and it is testament to both Linda's – Jessica Bayley on Saturday and Alicia Percy on Sunday – that you were never in doubt that you were watching the life of this young woman start, form and then be ripped apart.  Just how either Mickey could take so long to get with such attractive Linda's must be down to brilliant acting (and no little resolve) not to mention that Jessica has a mean right hook which Matty’s left cheek can play testimony to. 

The boys’ mother, Mrs Johnson, was played on both nights by Florence MacMahon and, as the glue that holds the whole story together, Florence was amazing.  Mrs J opens the show and in that one scene has to set the backstory, the current predicament, show the desire to get out of her current life and demonstrate that, despite being on hard times, she will do anything to make her children happy. Florence, like many of the cast, has an uncanny ability to visibly age on stage without any change in makeup or costume, her acting moves her from young mum to concerned confidante to destroyed parent and was a powerful and moving performance.

Mrs Lyons, Eddie’s ‘adopted’ mum, was played by Chloe Handley on Saturday and Penny Eastbury on Sunday.  Both girls approached the role differently and this, as mentioned earlier, helped to cement the double casting approach.  Chloe was wonderful as the upper middle class housewife and showed Mrs Lyons’ obsession on portraying the ‘proper’ social etiquette when in reality knowing that it is only her husband’s money on which her standing is built. Chloe had a clever way of having Mrs Lyons talk very calmly and yet being quite animated; a trait that many people who are begging for acceptance use and this gave her version of Mrs L a fragile desperation to keep hold of what she’s got.

Penny’s portrayal of Mrs Lyons was that of a woman very confident in her own standing, her husband was fortunate to have her at home and as such whatever she wants she gets.  She had an edge which said “get in the way and I will hurt you” , a real snobbish view of the world and this extended to her willingness to break up Micky & Linda if it meant retaining her status quo – in fact it is her actions that creates the juxtaposition resulting in the death of both boys – if she hadn’t been so obsessed with Mrs Johnson and Micky being near her (and her previous association with and reliance on the lower classes) she would have allowed nature to take its course without ever needing to get involved.

Of course, anyone who has seen the show will know that there is an undercurrent of superstition and impending doom throughout, ably provided by the narrator.  This character constantly reminds us that this is not a nice, simple tale of family values, that there bargains have been made and debts need to be paid.  The standout performance in both shows was by Ollie Mawson who took this role and totally made it his own.  Ollie belies his tender age to give a truly mesmerising performance, even as he walks slowly onto stage behind the main cast he has all eyes on him as we await his next prophetic soliloquy – mean, menacing and with an evil enjoyment in his work.

The rest of the cast were made up by the ensemble, all of whom were mark & cue perfect and ensured that the story never dropped in pace or intensity. Maya Darley, Harriet Claydon, Luca Howlett and Alfie Lovett gave the richness of ensemble normally associated with a much larger group.  This meant that, whilst the showtime was just over an hour, it never felt that this was Blood Brothers ‘Lite’, nor did the abridgements detract from the story, the emotion or the sense of having just been told a great story.

Page 2 Stage Performing Arts group is a creative youth theatre, not just  a ‘drama club’.  The group is about raising students confidence and self belief through a learning process that encompasses all elements of the arts, with a slightly stronger focus on drama. In the past they have looked at a range of different genres and has incorporated filmmaking, dancing, singing and improvised theatre in performances  as well as scriptwriting. The primary aim of the group is to provide a safe environment which allows the students to grow as individuals and gain confidence in themselves through the arts.  They are always looking for new members – visit their Facebook page for more details - 

https://www.facebook.com/Page2stagePerformingArts/info/?tab=overview

Avenue Q @ Darlington Civic

“Sunny days, sweeping the clouds away” and so began an hour of puppet mayhem, learning and fun for millions of kids back in the 1980’s.  In fact, to many, Sesame Street was the natural progressor to The Muppet Show and brought with it an extra dimension of the titular make believe street, a mix of puppets and humans and plenty of surreptitious learning. Well, now the Sesame Street gang have all grown up, struck out on their own and taken up residence across town in Avenue Q, and they’re quite a naughty bunch!.

Avenue Q is a madcap mixture of song and dance and is so engrossing that people and puppet merge into one, regardless of size, shape or thread count.  Make no bones about it, this is not a Punch & Judy puppet show, nor is it a black screen with puppeteers hidden behind a curtain, this is a very talented cast who can all sing, dance, act and jest and do so whilst bringing to life their ‘alto ego’s’ .  This show gives the audience double bubble – the puppets are all characters in their own right but the humans add themselves into the show so much that you’re not sure who to watch most.  Add to that the freedom to explore (and exploit) more ‘grown up themes’ and you’ve got a show that takes aim at modern pop culture and hits it right between the eyes (though at times you don’t want to know what with).

The story centres around Princeton (controlled and voiced by Richard Lowe), a young graduate who moves to Avenue Q to start out on his own grown up adventure.  Looking for his purpose in life, Princeton is soon befriended by all the residents, especially Kate Monster (whose human is the totally delightful Sarah Harlington).  Kate, who is a Kindergarten TA, has her own dream of opening a school for monsters so that little ones don’t have to suffer the stares from ‘normal’ kids but is struggling to raise the funds to do so.   They are joined on the Avenue by the hilarious Etisyai Philip playing superintendent Gary Coleman (yes he from Different Strokes), Ariana II who is the Asian American ‘Christmas Eve’ and her chunky stand up wannabee boyfriend Brian (Richard Morse). 

The rest of the gang all have their own back stories which we explore in a series of hilarious song and dance routines taking great joy in breaking away from the child friendly offerings normally associated with puppetry, including unrequited love between Nicky and Rod, the onanistic bedroom antics of Trekkie Monster and the corrupting 2 Bad Idea Bears.  So that’s pretty much every possible group covered and non are sacred.

For many of us who grew up watching Sesame Street, we always believed there were hidden messages, sub-contexts and unsaid stories, (more often to do with sex, race, drugs, drink, prejudice and greed), that have fallen into popular urban legends – Avenue Q says to hell with sub context, let’s tell it as it is, loud, proud and right in your face.  We are treated to a rather steamy one night stand, the perils that drink can have on your work life, the dangers of suppressing feelings, the true use for the internet (!) and how love will win out in the end.

With this year’s GCSEs and A Levels almost done, Avenue Q would be a perfect way to celebrate and start the summer – hope to see you there but remember to bring your tissues. 

The Hollies @ Darlington Civic

Looking around Darlington Civic on Tuesday night, I reckon I was, for once, one of the youngest in the audience.  The show was "The Hollies, We Got The Tunes" and was the start of their latest, and amazingly 50th anniversary, tour.  What was very clear from the sell out gathering is that their popularity is as strong as ever with not a spare seat in the house.

For one who was (certainly) not around for The Hollies' first hits, I have only really known their works from 60's compilation albums and movie soundtracks but you don't manage to tour every year for 50 years non stop by just replaying a Rock 'n' Roll back catalogue.  Granted, the majority of the audience were there to hear "Bus Stop", "I'm Alive", "Carrie Anne", "Just One Look", and "Stop, Stop, Stop"  but to think of The Hollies as simply being a 60's pop band is to completely miss the essence of a group which has clearly influenced bands as diverse as Genesis and The Beautiful South.  I was enthralled by the folksy "On a Carousel", the bluesy "Gasoline Alley Bred" and the anthemic "The Air That I Breathe" and seeing them played live gave such an insight into the graft and craft that goes into creating a cultural soundtrack.

I don't think the Darlington stage has ever played host to as good a guitar and drum combo as Tony Hicks and Bobby Elliott (except for previous visits by the band); Hicks has such freedom and amazing dexterity and you can clearly see where guitar heroes of the modern age get their inspiration from - without his pioneering style of play people like Slash, The Edge, Mark Knopfler would never have had the belief that guitars could lead a band.  As for Mr Elliott, take a bow Britain's best ever drummer, such diversity of style and technical prowess is unparalleled.

Lead vocals for The Hollies have changed since Alan Clarke left in 1999 but since 2004 Peter Howarth has brought a vocal range and power which can cope with the huge variety of songs, together with a stage presence and obvious enjoyment of performing.  He takes centre stage for two stand out solo acoustic numbers, a beautiful rendition of Bruce Springsteen's "Sandy" and a unique take on the Hollies standard "Here, I Go Again"

This show was the first night of a national tour and one which will undoubtedly sell out very quickly - for traditional Hollies fans, go see your heroes again and enjoy reliving your youth; for those who enjoy great live music, phenomenal songs and a fab night out, go, and be amazed at how you haven't seen them sooner.

Tour dates and more information is available on their website www.hollies.co.uk

Blood Brothers @ Darlington Civic

Maureen Nolan gives a powerful and emotional performance at Darlington Civic

Everyone knows the story of the Johnston twins, as identical as two new pins, and as such, almost everyone who comes to see Willy Russell's Blood Brothers does so with a degree of expectation which rivals most other shows.  Little has changed in the 29 years since the show first hit the stage; the songs, the set and the mood all remain instantly recognisable, and yet the brilliance of the writing and the complexity of the characters provide each production with an opportunity to add their own special take.

Set in Liverpool over 25 years it plots the course of the lives of twins who, having been separated at birth, remain fatefully linked through common loves, shared struggles and ultimately both unknowing of their own secret. To many, the underlying story is one of nature versus nurture, but it's far more complex than that; no two humans are identical, despite them being twins and as such it is emotion that separates the two boys more than miles or money.

Maureen Nolan plays the boys' mother, Mrs Johnston, and is simply perfect.  She brings a worldly-wise element which deepens the belief that she has lived through all she sings of. She has a brilliant maternal embrace for the part, blending the love only a mother could have with the strength to defy the odds and fight against the cruel hand of fate.  Maureen starts the show light on her feet, twinkle in her eye and a cheeky smile, yet, by the time of the final scene we have watched her grow old before our eyes, lose the joys of life and finally witness the spectre of death that has haunted her throughout.     I defy there to have ever been as powerful and emotive lead seen at Darlington Civic and this was borne out by the sight at the very end of the sell out audience rising as one to give one of the most rapturous and intense ovations.

Of course, the story is not just Mrs Johnston, the rest of the cast are brilliant in their delivery too.  Kristopher Harding as the narrator is the ever present shadow of conscience, skulking in the dark, sliding through scenes as the fore-mentioned spectre and constantly reminding us that this story is destined to be an unhappy one.  Sean Jones (Micky) and Joel Benedict (Eddie) have great chemistry and play off each other like brothers always do.  In particular, Sean's portrayal of Micky as he descends into depression and pill dependency is a huge shift from the care free, rebel with a smile Micky he plays earlier and demonstrates a wonderfully deep appreciation of the role and human nature.  Danielle Corlass, as Linda, undergoes perhaps the biggest shift in character; starting as a 7 year old tom boy, she morphs into a giggling adolescent, then a lovestruck teenager before becoming a newly wed and ultimately a heartbroken widow.  For all that Maureen Nolan takes centre stage as the linchpin of the story, Danielle is the perfect foil to remind the audience that this is not a one dimensional story about the boys.

If there are any who have yet to see Blood Brothers, this will be the best and most memorable show you will see this year, for those who have seen previous productions you owe it to yourselves to go and see this one and marvel at the best Mrs Johnston - just remember a large supply of tissues.

Joseph & the Amazing Technicolour Dreamcoat @ Darlington Civic 2014

A great way to warm up for the festive funtime

Back once again like a renegade master, this timeless classic has been revamped for the modern age, a High Def version if you like and, as one would expect from a show which centres on such a range of colours, it really benefits from the use of 'new age' technology and choreography.

The story of the Lloyd Webber /Rice musical collaboration is probably as well known as the biblical story of Joseph; for many it is their first foray into musical theatre either as a child on a school trip or playing a part in a school production.  As such, as you settle into your seat and the first few bars of the opening overture build, there is a comforting warmth of knowing contentment, but with this comes the danger that familiarity breeds contempt.  Well, fear not, for this production is as fresh and dazzling as a first year show trying to get an extension.

The casting of Danielle Hope as the narrator is inspired; Danielle takes centre stage regardless of where she stands, has all eyes on her without demanding any attention and has the perfect voice to tell the story.  This is one of the hardest roles to perform in musical theatre, it needs verbal gymnastics linked to an impeccable memory to keep track of all the brothers and colours, there needs to be sympathy, empathy, passion and no small amount of humour, it all has to be kept within the frame of being a storyteller and Danielle manages it with aplomb.  Many years ago I watched my first production of Joseph, the narrator, Karen, was brilliant and ever since none have been able to compare - you never forget your first - but Danielle is certainly a candidate to take that crown.

Lloyd Daniels as Joseph has all the innocence and naivety needed for the early part of the show (thought just quite how innocent he can remain playing with Potiphar's wife each night remains to be seen) - whilst later he manages to morph into Pharaoh's aide with all the pomp and importance.  Having one of the most iconic songs ever performed in musical theatre, Any Dream Will Do, Lloyd clearly enjoys the responsibility and revels in his multicolour frockery.

The rest of the supporting cast have boundless energy, which is just as well as Henry Metcalfe has the choreography turned up to 11.  Flappers, cowgirls, vamps, Frenchmen and of course, camels, all test the repertoire and all are fabulously performed with no shortage of humour.  The lighting design is particularly worthy of mention, never have the colours been so pure, so vibrant and clear - it really is like watching in High Definition.

So, for lifelong fans and new additions to the Joseph family, get your tickets, warm up your camel and head on down to the Civic, but be prepared not to leave early, the cast clearly love what they do and respond to the audience demands for encores; with standing ovations guaranteed at every performance you're going to get at least 3 or 4 additional numbers at the end.

Eva Cassidy Story @ Darlington Civic

Just plain wrong on so many levels

To many, Eva Cassidy is only known from her posthumous albums which, considering she is no longer able to record anything new, must be by definition collections of her best work.  As such, those charged with compiling them will be always be challenged to choose the right songs & recordings, whilst those listening will always have their appreciation and opinion 'controlled' by this.  There is, therefore a degree of power for anyone representing, portraying or producing Eva's work but with this power comes great responsibility.

My view on Eva is that she possessed one of the purest voices we have ever heard; she was able to convey feelings, emotions, passion, longing, sadness and joy without ever having to stray from remaining controlled, almost to the point of being understated.  Less was most certainly more when she took to the mike and this is one of the most endearing factors that set her apart from so many others.  Unfortunately, this is where the current show, and in particular Nicole Faraday seems to miss the real essence of Eva.  Don't get me wrong, it is obvious Faraday can sing, but to cast her as Cassidy left many of the audience puzzled to distraction.  Under Faraday it seemed every single song had to have an element of 'belting'; either through choice or by direction there are problems with her volume control as even mid phrase she moves from smooth & soulful to loud and brash and then back again.  This was regardless of whichever song but in particular the signature ballads of Fields of Gold, Over the Rainbow and Autumn Leaves were all 'karaoked' up .  It was reminiscent of the early stages of X Factor auditions where the wannabee star tries too hard to showcase her complete vocal range and power to Simon Cowell et al, when all that is needed is some genuine emotion.  Even when playing Cassidy in her final hours, sick and weak, Faraday still manages to wallop out the top notes and totally ruin the heart rendering tearful end to the story.

It's not just the lead who left many of the audience in dazed uncertainty; Rose-Marie as Mary Ann Redmond achieved what has never happened in all my years of watching theatre - I was left totally stunned and gob-smacked as to what I was watching, how it fit into the story and ultimately, why ! Likened to the Irish Bette Midler, I'm afraid it was like watching a demented step aerobic instructor with an unhealthy fixation on Tina Turner and completely interrupted the flow and feeling of what should have been an emotional story being told.

I'm aware that there has been some considerable rewriting done since the show first appeared over 10 years ago, and on speaking to many afterwards who had seen it originally, they were baffled as to why.  The story doesn't need any embellishing, just a truthful recounting by actors who can understand and portray Cassidy's uncertainty around her career, her love of her family and her drive to keep giving even as she was dying - instead we are treated to drama school levels of smaltz, paper-thin sentiment and an anti-climax of an ending.

As for my accompanying guest who is a huge Cassidy fan, she was almost in tears; not because of the emotional ending, but because of the complete feeling of betrayal to the memory of a true singing legend.

Dreamboats and Miniskirts @ Darlington Civic

A nice little show, but if only .....

The scene is back in Essex (this time it's 1963), the story, a follow on from the end of Bobby & Laura's No.1 hit song, and the cast & musicians are the same talented and energetic bunch as before but unfortunately that's where the similarities between the hugely successful Dreamboats and Petticoats and this latest bubblegum musical end.  The program notes talked all about the emerging British pop culture, the Beatles, Stones, the influence of the Mersey sound and the London fashion scene but sadly, apart from one small scene set in Liverpool, the writers, Laurence Marks and Maurice Gran,  decided to ignore the greatest back catalogue of British pop in favour of rolling out more Mid-American jukebox tunes.

A runaway first show sparking a huge following, spin off albums, mega marketing and thousands of fans was always going to be ripe for a follow up, but a major part of the success of the original was built on having first choice of the best songs to use to support the story.  Writing a follow-up could have gone one of two ways; same again but use songs from the 'B' list, or take the vibe and step it into a new direction - unfortunately the writers opted for the easier first option and in doing so missed a great opportunity - think Grease 2 after Grease and you've got it.

I am not suggesting that the play list is not filled with hit after hit, but what was very disappointing was the absence of British pop.  The story, which continues on from the end of the last show and occasionally gave a passing nod to the early 60's British revolution, could have shown how the Conquests had to change their style away from the late 50's  to reflect the new wave of England-based music which stormed round the world and spawned a totally different sound.  It could have made more about the band's trip to Liverpool to watch the embryonic Beatles and copy the fab 4's groundshaking style.  It could have recognised that the London fashion scene demanded its own soundtrack.  Instead, it reverted back to using the same American led formula of the original, shoehorning in more songs to 'tell the story' whilst actually leaving some in the audience just wishing for a few minutes of acting before the next aural assault.

Don't get me wrong, this is still a fantastic showcase for some very talented performers; the band is still as tight as ever, the girls vocals are crisp and clear and most of the boys hit their mark, nonemoreso than in the few acapella numbers.  Stand out performances were Louise Olley as Sue who lit up every scene she appeared in, Chris Coxon on bass guitar and Chloe Edwards-Wood and Charlotte Peak on the Saxes.  

The sets are fun, bright and full of energy, but the creativity and possibilities are stifled by the limited story and claustrophobic plot. It seems like the writers simply opted to throw in another song instead of a few minutes story-telling which leaves it feeling like a compilation album being performed live, rather than a musical story.  Shame really, that said, if you love live music and early 60's American pop then you'll really enjoy the talent on show.

Last Night of the Proms @ Darlington Civic

No excuses for being proud to be British

Last night Darlington Civic hosted the Last Night of The Proms, a celebration of British composers, traditional classical music with addition of a few interesting renditions of Abba, showtunes and movie themes.

Most people will have seen the world famous LNOTP from the Albert Hall and this, albeit on a smaller scale, managed to capture all the pomp & ceremony.  Ageless favourites including Rule Britannia, Jerusalem and the Selection of Sea Shanties were enthusiastically and energetically performed by the British Philharmonic Concert Orchestra while the audience lapped up every possible opportunity to wave their Union Jacks, clap and of course sing.  It was quite obvious that there is an expected degree of knowledge and etiquette when attending a 'Last Night' performance; the conductor (who for this show was the wonderfully energetic 'Lord' Anthony Kraus) will play to the crowd, trying to keep them in time and at pace, the leading soloists will deliver their finale bedecked in Red, White & Blue and the audience will bring kazoos, whistles, bells and rattles to ensure their audio cues are hit with as much noise as possible. To this end, there is, for the uninitiated the need for a compare just to guide us along.

 For this evening we had Gary Wilmot as the master of ceremonies who immediately gave the proceedings a wonderful air of fun, humour and cabaret; it is such a shame that we don't see Gary on TV these days, there are none better at combining genuine humour, impeccable timing with a great singing voice  - I had almost forgotten just how easy he makes things seem while clearly enjoying himself on stage.  When you watch the usual TV drivel we are served up labelled as family entertainment there must be a vehicle somewhere to get Mr Wilmot back on our screens.  Throughout the evening Gary interjected with telling facts, trivia and of course jokes (some new, most old but all were funny) all focussed on the theme of anniversaries.  He also helped to keep the lead singers, the delightful Anna Clare Monk and the mischievous Andrew Forbes, in line as both were tempted to throw away the running order and just join in with the audience.

You don't have to be a classical music buff to appreciate Last Night, nor do you have to be worldly wise in regards to traditional patriotism; all you need is to be able to enjoy a great evening of music, laughter and a sense of pride at being British.

Grease by Darlington Operatic Society

They're the ones that YOU want !!

Following on from last Autumns spectacular, Strictly Musicals, Darlington Operatic Society launched their Spring show, Grease, last night to huge applause, standing ovations and no shortage of critical acclaim.

Every year, DOS leave their audiences wondering how they can possibly top their most recent show, and every year they go one better - well with this show they've totally upped the bar when it comes to professional production values, great voices and bags of family fun.  Packed with all the classic songs known and loved from the biggest musical film of the 70's, this is much more than a simple sing-a-long stage version of the Travolta & Newton-John legend.  The choreography keeps it fresh and lively while the slight change in the musical running orders stops any complacent viewer from shuffling "I know what's coming next".  As for the cast, everyone on the stage looked like they had accomplished a childhood dream to 'sing Grease' on stage in front of a full house.

The leads, Michael Hirst and Selena Blain managed what so many since John & Olivia have tried and failed - they really gave you the impression they were into each other and the chemistry was there for all to see, bubbling under.  Michael had the swagger of Travolta, helped in no small part by his proud jaw line, cheeky smile and smooth moves while Selena (who many will remember for being Aerial in Strictly) had all of Newton-John's candy kitsch and faux innocence until the bg switcheroo at the end.  I don't want to spoil just how amazing Selina looks as sexy Sandy, but I will steal a quote from a previous show, The Producers, when I say "you can't see it but we're giving you a standing ovation."

Of course, there are more than just the two love birds in this show - Nick Holmes as Kinickie is perfect for belting out "Grease Lightning" and it is very clear that he has studied all the words to ensure his 'actions match up to their meanings'.  Katie Carter, making her DOS debut as Rizzo had a great first act in which she stays very much the matriarch of the gang, slightly aloof, cocksure and more mature than the other girls, but it was halfway through the second act, with her solo of "There are Worse Things..." that Katie stopped the whole auditorium dead in its tracks.  She managed to bring out Rizzo's vunerablilty perfectly, pealing away her protective shell to show a glimpse of the little girl underneath, before putting the barriers back up and returning to the hard Rizzo of before.

One of the great things of a stage show over a film is that there is more licence to allow some characters to relax and have bit a more fun - nonemoreso than Andrew Hamilton and Hayley Walker who, as Roger and Jan, brought the house down with their mickey taking and comedic ribbing, especially as they extol the virtues and love of lunar pastimes.  Even when she is not front and centre, Hayley adds so much to her character - at times I found myself watching her instead of centre stage and laughing at her extra little antics.

Another who made me hope she would be in all the scenes was Claire Williams, playing Patty - she is just so adorably high octane that you want to box her up, put her on a shelf and keep her for those days when you're feeling a little low - she is a pocket rocket of energy, the perfect Little Miss Goody Goody and a great mover to boot.

The set design and choreography are all fantastic and show true ingenuity in how to make the most of stage space while the costumes remain true to the feel of the film without being mere copies - that said,  Glyn Bigham in his all white suit was a heavenly vision straight out of the (Beauty) school of Frankie Avalon.

Of course, Grease is habitually a younger persons show, it is, after all, set in High School, but that's not to say that there weren't parts for all ages of the society. It is a great testament to the all the cast of DOS that so many familiar faces from Strictly Musicals were present in the company, and even though they weren't taking leads this time they looked like they were still having a fantastic time.

Looking round the theatre before curtain up and talking to many at the interval, it was obvious that the majority of the audience were there to see Grease based on a love of the film, however at final curtain everyone agreed that this performance was every bit as good as the movie and then some - there is a far better connection to the characters when you can see them live in front of you but more than that, you can feel their total enjoyment in what they are doing; the audience feed off the actors enthusiasm who in turn respond to the crowd - perpetual energy has at last been found.

The final curtain call was met with standing ovations throughout, well deserved by all on stage and even more so by Directors Martyn Knight, Joanne Hand and Michael Trotter.  I hope that this great theatre has strong foundations because on this showing there will be many more throughout the 10 night run.

Grease, by Darlington Operatic Society, is on at Darlington Civic Theatre until Saturday 12th April - there are still a few tickets left but hurry - see the DOS website for more details.

PS - I couldn't write a review on a DOS show without mentioning my two favourite girls - Zoe Birkbeck and Chloe Dargue - Great Hand Jiving Chloe and Zoe, that mauve sweater - Oh My !!  x