Carmen by Opera North

Since Bizet first composed his legendary opera Carmen back in 1874 there have been countless performances, re-imaginings, movies, books and plays; this new production by Opera North is a very worthy addition to that list and one which will live long in the memory.

This current version, gives the traditionally Spanish drama a uniquely modern set of sensibilities centred not in Seville as the original, but on the French/Spanish border.  Carmen ( Chrystal E. Williams) is a burlesque dancer in a somewhat seedy nightclub; entertaining the soldiers and toreadors alike while trying to bring up her daughter safe from the hate and corruption war brings.  Drug use and smuggling takes place openly in the bar, alcohol flows freely and the characters are gregarious and brash.  Carmen is the dancer, the leader of the showgirls, the main attraction, but we are left in no doubt that first and foremost to her, she is a mother, a single mother.  This plays beautifully against pregnant Micaela (Alison Langer) who believes that she must have a husband and her unborn child a father, save that she will suffer the shame from her family and home village.  Sadly for her, the man in question, soldier Don Jose (Satriya Krisna) has become besotted with Carmen and so begins the one of many manage a trois.

Don Jose is stationed in the garrison, enjoying the soldier life freedoms and male camaraderie.  He does not want a ‘reminder from home’ and shuns the demands to do the right thing by Micaela.  Ribbed by his soldier friends and tempted by the life of drink, drugs and loose women, he is constantly torn.

Playing out behind this love triangle is the fated superstar toreador Escamillo (Phillip Rhodes) – an 18^th century Elvis Presley who, complete with his followers and cheer leaders, performs his bull fighting in a bid to woo Carmen.  It is not clear if his intentions to Carmen are driven by love, lust or simply to add another conquest but what he manages to do is inflame Jose’s passions and the two rivals fight, spurred on by the baying crowd and overseen by Carmen.  Jose cannot accept that Carmen does not love him, especially as he has now estranged himself from Micaela and when Carmen finally sides with Escamillo, Jose sees that there is no other way to rid himself of his jealous anguish but to kill her.

Under conductor Antony Hermus,  Bizet’s operatic storytelling is given full throttle; high drama, passionate characters, dark comedy and a deep reflection on the human condition, the audience is gripped from the moment the opening overture begins.  Sure, there are plenty of well known ‘songs’ in this opera, indeed many have found their way into popular culture, tv ads and even football chants, however it is only when observed as a whole performance can you truly appreciate the character portrayals and wonderfully absorbing storytelling.

This production is Opera North at its very finest – they make classic opera so accessible for the modern audience; exciting, enthralling, energetic and totally engaging.  Traditional opera fans will love this version, new ones will wonder why they have not been to see their work sooner.

The Addams Family Musical Comedy

 

Spellbinding masterpiece of modern musical theatre which is sure to last as long as its famous TV counterpart, this current show is drawing crowds back to the theatre and leaving them in howls of laughter.

Based on the original Charles Addams comic strips and latterly on the book by Rick Elice and Marshall Brickmand, Andrew Lippa’s music and lyrics tell the tale of Wednesday Addams (Kingsley Morton), now a teenager, who is ready to spread her wings and fly into the arms of a ‘normal’ boy, Lucas Beineke (Ahmed Hamad).  

Of course, Wednesday being an Addams means when the two families get to meet one and another, things aren’t exactly plain sailing.  (Quick note – look out for Kingsley in any future shows, she is a powerhouse of a singer, wonderful actor and has impeccable comedy timing).

Head of the house Gomez (Cameron Blakely) is part suave sophisticate and part ‘light on his feet’ fop – Cameron oozes charisma and charm and no little in the funny bones.  Torn between keeping Wednesday’s impending announcement a secret and honouring his Mi Amore Morticia’s expectation of complete honesty, Gomez tip toes through the tulips of duplicity.  His "Two things/Three Things" is hilarious, his "Happy/Sad" will resonate with any father watching his daughter grow up (and I've done it twice).

The Ying to his Yang, Morticia (Joanne Clifton) is the epitome of a 50’s American ‘mom’ – only wants the best for her family, so long as that ‘best’ is her version on her terms.  Joanne is simply wonderful, she naturally glides around the stage effortlessly which just adds to her other-worldly persona.  Of course it would be remiss of the director Matthew White if having a ‘Strictly’ champion in the cast he didn’t show us the full range of ‘Morticia’s’ prowess – the Tango De Amor is possibly one of the best routines you’re likely to see on stage this year, I am certain the temperature in the auditorium went up 10 degrees while we watched.

The rest of the family are all afforded plenty of stage time to ensure we feel the whole familiar familial.  Grant McIntyre as Pugsley is a brilliant stooge to Wednesday’s torturings while their Grandma (well, ‘somebody’s’ Grandma) Valda Aviks is an ever present lurker just waiting to drop a potion or two.

The Beineke’s visit to the Addams household cumulates in them playing The Game (“the game, the game, the game”) – Full Disclosure, a kind of truth or dare whereby they each reveal a deep secret.  Aided by some of Grandma’s potions, Alice Beineke (the stunning Kara Lane) casts off her oppressed housewife shawl and challenges her stuck in his ways husband Mal (Sean Kingsley) to do the same or risk losing her forever.   Mirroring the same ultimatum that Wednesday has set Lucas (and for that matter Morticia sets Gomez) we are led into a brilliant musical battle of “Crazier than You” – warning, this is the one that will stick in your head and you will suddenly be singing at your partner, children, pets when you get home.

The final 2 main characters are possibly the two favourites from both TV & Screen – Uncle Festa (Scott Paige) and Lurch (Dickon Gough).  Scott’s Fester is brilliant – I was fortunate to watch this show twice, once from the circle and then from only 2 rows back in the stalls and to see Scott’s nuanced ‘Festerisms’ is genius; lovestruck by La Lune, devoted to his family and as mad as a box of frogs, he could easily carry a spin off show of his own.  As for Lurch, well, Dickon manages to portray the Addams’s butler as though he is 9 feet tall – ominous, broody, creepy and moody, but there are some fabulous stand out moments for which I will not issue any spoilers.

The ensemble all play deceased ancestors of the Addams’ throughout history, ever present as ghoulish onlookers and phantom friends.  Keep an eye out for the pictures at the back of the set, there’s almost as much going on there as there is front of stage.

As mentioned earlier we were sat 2 rows from the front in the stalls and as such we have a brilliant view of the band – led by Bob Broad who one can only describe as the Tasmanian Devil on a keyboard – Bob packs so much energy into his band leading (and clearly the band respond to that as could be seen by their laughs and smiles throughout)  - it is not only a joy to see but clearly why the performances are so hugely entertaining for everyone.

The Addams Family Musical is touring the UK – if you only go and see one show this year, make this the one, and then take your friends, and then your family, and then your neighbours – Everyone deserves to have a little Addams in their life.

Fatal Attraction at the Theatre Royal Newcastle

 

Fatal Attraction is a must see, 5 star production – go with friends, go with partners but probably don’t go if you’re having (or thinking of having) an affair.

James Dearden’s dark and twisted tale of obsessive love leaves you breathless.  Leads Kym Marsh and Oliver Farnworth give one of the most powerful performances you’re likely to see this year.

Based on the Paramount Pictures movie from 1992, Fatal Attraction is the tale of Dan Gallagher (Farnworth), a happily married New York lawyer who one night happens to be in a bar with a friend when he meets publisher Alex Forrest (Marsh) who is out looking for company.  Tempted to stay a while longer as his wife is away, Dan and Alex end up having dinner and then go back to her apartment.  A one night stand ensues, but from this point on, the one night is the least of Dan’s worries as Alex begins to control, manipulate, threaten, plead and beg for Dan’s attention.  She turns up at his work, calls his cell, texts and even manages to meet his wife at their apartment.

Trying hard to distance himself from Alex, Dan changes his phone numbers, his routine, agrees to move out of the city with his wife and daughter but nothing will stop Alex.  Using all her powers of emotional blackmail and some very clever, underhand tricks, she manages to get right under the skin of Dan’s life and from there she festers and grows, like a cancer.  The ends to which she will go and limitless, the infamous rabbit scene is even more harrowing on stage than in the movie and her coup de grace is the ultimate in revenge.

Kym Marsh is simply amazing – sultry and seductive, yet in one moment she becomes psychotic, unhinged, fragile and dangerous.  You never know which Alex is going to appear from one scene to the next and that is truly scary. In a minimal set there are no distractions from the performance on stage, but to be honest, Marsh could perform in a crowd of thousands and you would be able to see nothing but her. 

Farnworth’s Dan, for any married man, is surely a ‘there but for the grace of God go I’ performance – he never intends to cheat on his wife, nor does he seek to maintain a relationship with Alex after the fateful weekend but he does show that, to coin Kipling ‘ the female of the species is more deadly than the male’.  His weakness was his ego; flattered by the attentions of a beautiful woman he pays the ultimate price in losing everything he once held dear.  Farnworth delivers a profound progression of annoyance to frustration, to desperation, to rage and finally to complete devastation with the pain and anguish visible right to the back of the theatre.

Supporting cast Susie Amy as Dans wife Beth is perfect; she is lovely and loving, wants nothing more than to enjoy her married life and move to the country which makes his cheating on her evermore heart-breaking. 

Special mention to lighting designer Jack Knowles, sound designer Carolyn Downing and Set designer Morgan Large who give director Loveday Ingram some of the most powerful and evocative tools to play with.

Snow White and the 7 Dwarves

 

The BEST advert for live theatre, pantomime and the North East

The annual tradition of Pantomime was sadly missing last year so we've been 2 years without our fix, but if  it's possible to turn the dial up to 12 on madcap humour, double the feel good factor and raise to the power 2 the fun and enjoyment then the Theatre Royal have managed it with aplomb.  

This year's offering, Snow White and the Seven Dwarves from Crossroads Pantomimes and written, produced and directed by Michael Harrison should go down in history as possibly one of the greatest pantomimes of all times - packed to the gills with laughs (on all levels) stunning costumes, amazing singing and oodles of chaos, everyone was left in tears of joy, be they 4 or 84.

The stalwart characters of Snow White (Kirsty Ingram), Prince William (Wayne Smith), evil Queen Dragonella (Chris Hayward) and dame Nelly Nightnurse (Steve Arnott) are the perfect foundation upon which to build the panto - they are the dreamers of dreams and the tellers of tales and it is through them, ably assisted by the Magnificent Seven (Josh Bennet, Simeon Dyer, Scott English, Jamie John, Blake Isle, Andrew Martin and Fergus Rattigan) that the good versus evil fairy tale is delivered.

Adding in an extra depth is the Man in the Mirror (Joe McElderry) and the Spirit of Pantomime (Carole Stennett).  Carole lifts the usual 'Fairy Godmother' type role embracing the whole of Panto Land and serving some timely comfort that what we have missed over the past 18 months is now back again.  I will admit, this is my first time seeing Joe live and I was blown away by his amazing voice and stage presence - so at ease within the role, very happy to be the target of some jokes and able to go toe to toe with the evil Queen.  

Of course, anyone who has been to a Theatre Royal panto over the past 16 years will know that the USP - the Unique Silliness Parts come from Danny Adams (Danny the Court Jester) and Clive Webb (Oddjob) - these 2 are panto perfection pas compare, undoubtedly the best in the country for madcap anarchy and rib-aching routines.  Clive, an accomplished magician, writer and the brains behind the duo is the straight guy to Danny's Tasmanian Devil.  

Danny, a cross between Lee Evans and Norman Wisdom, gets better every year which is saying something because he was brilliant when I 1st saw him 11 years ago - his timing, physical comedy, non-stop goofing and hilarious voices suggest an out of control performer but this couldn't be any farther from the truth - the dedication and devotion to his craft make him unparalleled in modern day comedy theatre.  Whilst he shoots out jokes and quips in a seemingly random fashion he knows exactly where he wants them to land - daft and silly are pitched straight to the kids, risque and very near the knuckle go over their heads and smack into the adults, leaving many in tears of laughter while nervously glancing at their young guests and hoping they aren't asked to explain why it is so funny.

The 3rd wheel to the zany gang is Mick Potts, cruelly playing The Idiot - Mick is as much a part of the madness and ensures that both Danny & Clive have an extra stooge off which to bounce.

Packed with pyrotechnics, amazing lighting and some truly brilliant flying sequences (for which I will offer no spoilers) the whole production is a triumph and one everyone should feel mighty proud of.

If you can only choose one pantomime this season then I suggest, nay insist, this should be it - oh yes I do !

Blood Brothers Theatre Royal

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 40 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.

Paula Tappenden (Blood Brothers super star, Wind in the Willows, Wizrd of Oz) 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.  Paula 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 and this was borne out by the sight at the very end with the audience giving a tear streaked standing ovation.

The chalk to Mrs J's cheese, Mrs Lyons was played by the wonderful Grace Galloway  (Di and Viv and Rose, Chess the Musical ) - brilliant acted as the over protective, self obsessed snob who cannot bear to accept her part in the ultimate tragedy of the story.  Grace's portrayal of middle aged Mrs L belies her own youth and is great testament to her acting skills.

Of course, the story is not just Mrs Johnston vs Mrs Lyons, the rest of the cast are stella in their delivery too.  Robbie Scotcher (Miss Saigon, Footloose, Anything Goes) 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.  

Josh Capper (Alladin, The Turnip Field) as Micky and Joel Benedict (a previous Blood Brothers Alumni) as Eddie have great chemistry and play off each other like brothers always do.  In particular, Josh'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 (another previous BB star as well as Janet in Rocky Horror Show) 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 Mrs J takes centre stage as the linchpin of the story, Danielle as Linda is the perfect foil to remind the audience that this is not a one dimensional story about the boys.

A special mention to Daniel Taylor (Brookside, Game On, The Bill and countless wonderful stage shows) as rebellious renegade Sammy - totally believable as the dangerous rogue, very threatening.

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 - a wonderful release from the difficult times we've been through - give yourself permission to cry with everyone else.

Educating Rita at Theatre Royal

 

The Student becomes the Master

This most recent tour of Willy Russell’s timeless classic, Educating Rita, comes to a final close this week at Newcastle’s Theatre Royal, a fitting location for local lead Jessica Johnson’s graduation.

Since April 2017 when Jess played Rita at the Gala, Durham, she has taken the role of Rita to be very much her own.  Of course, the immortal genius of Russell’s writing creates a landscape in which actors have freedom to develop, but having seen this incarnation a number of times over the past 4 years, it is Johnsons’s own development that is just as impressive as the journey the titular Rita takes.  Always confident in the role, there was added depth and strength to last night’s performance borne from the brilliant on-stage chemistry and Jess’s commitment to her craft.

The story is well known and much loved; Rita wants to change her mundane life, breakaway from the cultural expectations of her family, peers, husband and feed her desire to learn and grow.  She embarks on an English Literature OU course and, paired with disillusioned (and often drunk) professor Frank (the incomparable Stephen Tompkinson), she discovers the classics, Shakespeare, poetry and critical thinking.  As much as Rita grows, Frank shrinks into his bottles of well hidden scotch, ruing his own lost passions and resenting the freedom and possibilities Rita now uncovers.  His descent into self-pity is akin to Victor Frankenstein’s love and then hatred for his monster – it is not the monster’s fault it became what the Dr created, nor is it Rita’s fault Frank gave her the freedom to think for herself, which he then struggles to accept.

As is to be expected with a Russell masterpiece, the wit and comedic observations are packed into this 2 hander, juxtaposed against the still current social constraints of ‘change is bad’ and ‘know your place’.  The great set (Franks study, filled with dusty books, student papers and the afore mentioned bottles of booze) is both claustrophobic to Frank and enlightening to Rita; what are his prison walls are her gates to freedom, and even his impending trip to Australia (due to an unfortunate, drunken incident with the Bursar) does little to break him from his captive mindset. 

It may be a long time before we again get to see such wonderful on-stage unity from 2 actors totally immersed in their art.  Don’t miss out on this final leg of the tour. 

Thank you Jessica and Stephen for a wonderful journey and who knows, perhaps Mr Russell could be tempted to write a follow up - Rita the Teacher anyone?

Heathers the Musical @ Theatre Royal, Newcastle

 Heathers The Musical

Heathers The Musical opened last night to expectant applause and closed to a rapturous standing ovation.  This latest in the series of new modern musicals is based on Michael Lehmann’s 1989 black comedy and manages to retain all the danger, uncomfortableness and thought-provoking whilst delivering it with a stunning score and no shortage of gallows humour.

Heathers is set in a stereotypical High School (think more 13 Reasons Why rather than Grease) with the usual groups of jocks, nerds, cool kids and, of course, Heathers.  Here, the Heathers, 3 rich and entitled seniors, control who is in, who is out and who deserves to be just left alone.

Veronica (Rebecca Wickes – Six, We Will Rock You) is a plain Jane who wants to be noticed more and so attempts to befriend the Heathers.  Usually this would be met with an acerbic put-down, but Veronica has a skill that she can forge handwriting and as such the Heathers see this (and Veronica’s not so subtly disguised beauty) as reason to bring her into the gang.  Rebecca is a brilliant as Veronica; a feisty pocket dynamo with great range and wonderful timing.

The Heathers; Chandler (Maddison Firth – Six, Waterloo Road), Duke (Merryl Ansah – Lion King) and McNamara (Lizzy Parker – Urinetown The Musical) begin to force Veronica to turn her back on her friends and adopt their callous, snide and bitchy approach to their classmates.  This doesn’t sit well with Veronica but the rewards of attention prove too big a draw to refuse so she does their bidding, albeit under duress.  (Not surprising as Firth, Ansah and Parker are very convincing as manipulative divas)

Seeking someone she can confide in, Veronica falls for Jason ‘J.D.’ (Simon Gordon – Urban Myths, Moulin Rouge – Secret Theatre) a new guy at school who she soon finds is more Lone Wulf than Lonely Soul, he begins to lead her into deadly revenge on the Heathers and all those who follow them.

There is no mistaking the darkness in this production; murder, poisoning, teen suicide, attempted date rape are some weighty topics but they are delivered in the guise of High School life and Director Andy Fickman hits the right level everytime.  With a stunning score and some brilliant performances, this never feels preachy, nor does it stray into exploitation.  The young cast ensure that there is no dip in energy and brilliantly portray the hectic, chaos of High School.

Whilst the premise of Heathers is elitism and exclusion, the show actually celebrates tolerance, inclusivity and acceptance, nowhere better seen than in ‘My Dead Gay Son’ – a brilliantly hilarious coming out song.

Heathers is at the Theatre Royal, Newcastle until September 11^th, tickets from 

https://www.theatreroyal.co.uk/whats-on/heathers/ 

Magic Goes Wrong, but so Right at Theatre Royal

 Magic Goes Wrong

Tonight’s fun is brought to you by the letter ‘M’. 

Magic, Mystery, Madcap, Mayhem, Must-See.

The return to live theatre was always going to be a special one and for the audience at Newcastle Theatre Royal who were watching the opening night of Magic Goes Wrong they were treated to a slice of escapism that has been sorely missed over the past months.

Building on their brilliant Cornley Polytechnic previous productions (The Play that Goes Wrong, Peter Pan Goes Wrong, Story about a Bank Robbery), the Mischief Theatre company have melded real magic with their brand of zany mistakes and cringe-inducing mishaps.

Set as a fundraiser event for the Disaster in Magic Charity, we are treated to illusions, mind reading, escape stunts, card tricks and much more.  Of course, these are not destined to run smoothly, there are accidents aplenty, no shortage of physical injury, prop failures and some rather unfortunate events with wildlife.  

All in all, the charity night does not quite provide the much needed boost in funds, but it does give us, the real audience, plenty to enjoy.

The cast includes Daniel Anthony (Mickey), Valerie Cutko (Eugenia), Sam Hill (Sophisticato), Kiefer Moriarty (The Blade), Jocelyn Prah (Spitzmaus), Chloe Tannenbaum (Bar), with understudies Ishbel Cummings, Rory Fairbairn, CJ Field and Jay Olpin. 

Stand out performance was the brilliant David Nellist as the Mind Mangler;  a native to the North East (Alf Ramsey Knew My GrandFather, Pitmen Painters, The Far Corner) David’s performance of the oft thwarted mentalist is a counterpoint to the madcap physical comedy of the other acts.

MGW was possibly a marriage made in heaven; the ‘Magic’ has been designed and written by Penn and Teller – American magicians whom I first saw almost 30 years ago and whose performances have taken magic and twisted it into the macabre, drawing you into a safe expectation of traditional magic and then throwing you against the wall.  The ‘Goes Wrong’ part is the latest child sired by Henry Lewis, Jonathan Sayer and Henry Shields – names that now guarantee mayhem and test the bounds of how much they can inflict on a cast before they cause them real harm.  The blend of the two (there is real magic being performed) ensures that you are not really sure what to expect next, a true variety show.

Much credit must go to the staff and management of the Theatre Royal, Newcastle who have worked very hard to bring a sense of safety and confidence to the theatre going experience.  It is not easy to suit everyone’s sensibilities but they have provided clear guidance, sensible rules and effective spacing so as to ensure you feel part of a large collective without cause for worry.

Magic Goes Wrong is at The Theatre Royal, Newcastle until Saturday 28^th August.

Tickets can be purchased from www.theatreroyal.co.uk

Beauty and the Beast at Newcastle Theatre Royal

Beauty and the Beast at Theatre Royal, Newcastle

Ask anyone what they think of as the signal that Christmas is coming and they might say Christmas adverts, songs on the radio, planning a big meal, buying gifts, the Coca Cola wagon but for me the real sign is when the Theatre Royal start their Pantomime.  Rightly heralded as one of the very best in the country, this year’s offering of QDOS’s Beauty and the Beast has taken the very best elements of the traditional seasonal fun and blown it into a new level altogether.  This is not just panto excellence, this is theatre excellence.

While some pantos have resorted to using gimics to try and set themselves apart – 3D visions, cameos by pop stars and reality tv, bizarre twists in the story,  all of them, bar none, pale into insignificance when compared to Newcastle’s finest.  Written, produced and directed by a team who all hail from or are based in the North East, this show is perfection beyond compare and instantly taps into our rich culture, heritage and love of laughing.

The story retains everything about the original and why wouldn’t it – it’s a wonderful story tailor made for panto.  The sets are exquisite, rich, deep and packed with detail.  Choreography, both in costume design and routines are like a mix of the most elegant Viennese ball and the best bits of Strictly.

Of course, what makes a Panto really shine is the cast and once again, Newcastle have the best in the country, if not the whole of Panto world.

 

Danny Adams, Clive Webb and Michael Potts provide so much fun they should carry a health warning, Chris Hayward as Mrs Rita Potty is the Geordie mother we all wish we had and the beautiful Laura Evans as Belle ensures we have some delightful feminine charms to counter the madness.  Nicola Meehan sets the scene for the whole evening with a breathtaking transformation from old hag to stunning enchantress whilst Chris Cowley as both the prince and the beast is totally believable as bad guy made good.  Even Wayne Smith as Belle’s desperate love wannabee elicits some sympathy, possibly in part because he is a wonderful mix of Lazy Town’s Robbie Rotten and Elvis Presley.

Having watched lots of pantos all round the country I do believe that Newcastle is blessed with something others can only wish for – Danny Adams in his finest.  Danny is worth coming to see on his own, he is a magician in his art and had this 50yr old rolling in the isles along with the 5 and 6 years olds (though often for very different reasons).  A master of slapstick, ably abetted by panto stalwarts  Webb and Potts, at times I found myself begging for him to stop just so I could grab a desperate breath or two.  He is a magical blend of Lee Evens, Norman Wisdom, Max Wall (yes I’m that old), Freddie Starr and Tommy Cooper with a penchant for tongue twisters and singing that would paralyse most people’s vocal chords.  One song in particular, where he names all the people and places in the North East should be used as by the tourist board as an advert.

What is most noticeable about this panto is that despite there being an obvious billing hierarchy, and a group who are into their 15^th year at the Theatre Royal, everyone, and I mean everyone, has equal input into making it the best Christmas show in the country.

My advice, if you love to laugh, if you love to see others laugh (including the cast) and if you love yourself, then get tickets for this – you’ll be on a high for days after.

A 5 start show with an extra star for Danny Camp, this return to traditional panto is packed with laughs, stunts, knife throwing, mess, gloop, brilliant songs and bags and bags of fun.  

On until Saturday 19^th January 2020

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

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

Benidorm Live

Derren Litten’s award winning TV sit com comes alive on stage and guarantees everyone a sunshine evening packed with laughter.  Directed by Ed Curtis and produced by Michael Harrison and David Ian, the tour began its run at the always wonderful Theatre Royal, Newcastle before heading off around the UK.

It can’t be easy to take a TV show that ran for 10 seasons, beloved by millions and winner of multiple awards and put it onto a theatre stage.  After 74 episodes, fans feel like they know everything there is to know about the characters so how do you create something that still feels fresh and exciting without either going over old ground or just making a pastiche (not pasty, Kenneth).

Derren Litten has written a stage show that brilliantly feels, for all intents and purposes, like a one off special for the small screen.  The audience are dropped right back into their favourite Costa Del Sol hotel, the characters act as if there has been no gap since the end of the last episode and, most importantly for fans, there is no time wasted establishing who is who and what is what.  This means the pace is immediately high with fans’ favourites entering to rapturous applause and cheers and the familiar surroundings of the Solana, Blow and Go and Neptune’s enveloping the audience like their warmest winter duvet.  The tour is due to run for over 200 performances and this show is packed with fun to keep people coming back for more, time after time – in fact it is possible we may have just watched a modern cult show being born.  There is every chance, a la Rocky Horror, that many fans, having seen it once, will dress like their favourite characters and keep coming back for an almost communal night out.

 Choosing which characters to use after so many episodes can’t have been easy;  fans of the show feel they have grown to know many of the families – the Gravies (sic), the Dawsons, the Matlbys, Les and Leslie and as such will always have their favourites, but the genius of Litten’s writing is that those not on stage are not missed, it just feels like they are somewhere else in the hotel at the time.  Of course, those who are on stage ensure that the core essence of the TV show remains strong; Matteo’s failed attempts at womanising, Joyce’s desperate approach to hotel management, Kenneth’s love of all things Benidorm, Jacqueline’s pursuit of carnal pleasures to name but a few. 

For an actor, TV can be quite a forgiving medium in which to work.  Multiple takes, multiple camera angles, dubbing, even stunt and body doubles can all be used to ensure the final cut is perfect.  On stage there is no such luxury, no safety net of fixing things in post.  This makes the comedic timing, singing, dancing and delivery of Litten’s word plays (at times his writing is like a cross between Alan Bennet and Victoria Wood) all the more impressive.  The cast never missed a beat, from Matteo’s flamenco dancing to Sam’s brilliant singing, from Liam and Kenneth’s love/hate/love to Jaqueline’s double entendres they were word and pitch perfect.

Mark Walters’ design and lighting is very clever; utilising a central revolving stage reception, the salon, the pool side, managers office and karaoke bar all morph before your eyes with no need for fades or flies meaning the scenes are seamless and the pace never drops.  Likewise, using the wonderful singing of Asa Elliot to help smooth the changes and the night simply flies by.

You may have noticed that I have not delved into the story or any of the stand out moments – believe me, I would love to as I have already told many, many people, but it wouldn’t be fair to spoil the surprises so instead I will say – if you loved Benidorm the TV show and mourned its passing after season 10 then this production is guaranteed to fill your evening with belly laughs, gasps and groans and leave you with the warm all over glow that only a day in the hot Benidorm sunshine can.

Tickets and tour dates can be found here:

http://www.benidormonstage.com/