Bedknobs and Broomsticks

 

Enter the fantasy world of magic and make believe.

Adapting a much loved animated film, let alone a Disney classic, is always going to be a challenge.  You can do so much on screen which defies logic, physics or simple understanding; let’s be honest, that is what makes such movies appealing to everyone, yet the current tour of Bedknobs and Broomsticks manages to create all the mystery, magic and danger of the original 1971 Disney movie right before your eyes.

Right from the opening scene, which, without any words being spoken begins the story of 3 London children (Charlie, Carrie and Paul) who, having lost their home and their parents during the Blitz, are bundled up, put on a train and transported away.  The scene changing as they move from the war torn capital through the hustle and bustle of panicked evacuation and out to the serene calmness of the countryside is stage craft at its very highest.  Eldest Rawlins, Charlie, is played by Conor O'Hara with the two younger members of the family being shared cast.

On reaching their designated ‘safe house’ the children soon realise their patron is more than just an eccentric lady; she is a trainee witch.  Dianne Pilkington as Eglatine Price is wonderful in the Angela Lansbury role; kind yet direct, fantastical yet recognising the children need to remain grounded.  In proving her abilities to doubting Charlie she turns him into a rabbit using the The Turn-a-Man-into-a-Rabbit Spell (Filigree apogee pedigree perigee), wonderfully effected using puppets and prosthetics.  Cue the next step in her development and her first flight on her broomstick.  This is simply magical; again, the staging and effects are better than any CGI as you can see it happening right before your eyes. 

In a desire to use her magic to help end the war without further bloodshed, Ms Price realises the one final spell she needs is missing from her tome of magic and so back to London they must go to find the other part of the book, currently held by small time street illusionist Emelius Browne (Charles Brunton).  Time for the Bedknob, bewitched by a Travelling spell (Hellebore henbane aconite glow-worm fire and firefly light) by Ms Price, and yet more wonderment as the bed begins to fly, it too defying gravity in the most magical of ways.  Gone are obvious wires and strange pulleys, the flying scenes in this show will have you transfixed in trying to see how they do it.

From London, and with Mr Browne in tow, they venture to the land of No Pee Pol and seek an audience with the King, a majestic lion (another brilliant puppet akin to Lion King or War Horse).  On the way Browne and Price take part in an underwater version of Strictly Musicals, great dancing but sadly for some in the audience, a little too long to keep their attention. 

Emboldened with the necessary final spell - Substitutiary Locomotion (Treguna mekoides trecorum satis dee), they return back to the house and begin to enchant a new army of objects to take the place of people just as the invasion begins.

A wonderfully told story, though possibly a little too long for younger members of the audience; the original movie runs at 97 minute however this production returns it back to the original 2 hours 15mins, however with great numbers such as  "Bobbing along", "The Age of Not Believing" and "Negotiality" this show positively flies by (both figuratively and physically).

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.

Birmingham Royal Ballet present Don Quixote

 

Birmingham Royal Ballet’s Director Carlos Acosta promises entertainment for all ages when he brings an explosion of Spanish sunshine, spectacular dance and vivacious comedy to Sunderland Empire March 10^th – 12th.

In a new production created especially for Birmingham Royal Ballet and featuring all-new designs by Tim Hatley, Don Quixote introduces us to Cervantes’ famous knight himself, lovers Kitri and Basilio, and a host of supporting characters. As the Don sets out on a quest to track down his true love, with his loyal friend and servant Sancho Panza at his side, he finds himself embroiled in an unlikely adventure of love and dreams.  Steeped in literary references, Don Quixote is a tale of love, lust, laughter and longing for better things, most of which seems to only be present in our hero’s mind.

Don Quixote on stage has been played by some true greats including the famous Rudolf Nureyev and Mikhail Baryshnikov – usually a traditional production, Director Acosta promises this updated version will wow audiences whose tastes and expectations are now more keenly attuned with Strictly and Dancing on Ice.

“For this new production, I wanted to give it a completely new take and a new look to the one that I gave to the Royal Ballet so that Birmingham has its own. It’s a new production with new concept and designs, re-orchestration, new elements of the choreography, new colours, a whole new palette. “Don Quixote is the best ballet to attend if you are not a ballet connoisseur,” Carlos says. “If you don’t know anything about ballet this is a great chance to learn something about it by watching Don Quixote. It appeals to family audiences; it is great for children because the story is easy to follow.

"It’s very sunny and people will laugh a lot. The world of ballet is so full of tragedies, Swan Lake, Romeo and Juliet etcetera, they are all tragedies but in Don Quixote nobody dies, it’s a happy tale.

“The ballet is very exotic; it provides escapism into this amazing world of colour and the music has an amazing Spanish flavour.  When it’s raining and cold then you want to come and see Don Quixote because it’s a sunshine ballet. It’s a great show - when you’ve seen it, you leave on a high.”

This promises to be a wonderful new version for the discerning connoisseur but perhaps just as importantly, a brilliant introduction to anyone who has not yet been captured by the magic of live ballet – funny, witty, amazing and enthralling.

Tickets are available from https://www.atgtickets.com/shows/birmingham-royal-ballet-don-quixote/sunderland-empire/

The Lion, The Witch and The Wardrobe

Story telling at its very best, this fantastical production transports you into the land of Narnia in a 5 star adventure.

Following many successful adaptations on both TV and Radio, this Leeds Playhouse production of the classic C S Lewis book is a massive show packed full of wonderful imagery, stunning props and an amazing cast. 

Director Michael Fentiman has created a truly unique experience; right from the very beginning as the Pevensie children are evacuated from war torn London to the highlands of Scotland we are immediately enveloped in a world where nothing seems exactly as it should be, a perfect approach to Lewis’ land.

The 4 leads, Peter (Ammar Duffus), Edmund (Shaka Kalokoh), Lucy (Karise Yansen) and Susan (Robyn Sinclair) are sent to live with eccentric Professor Kirk (Johnson Willis) and his housekeeper Mrs Macready (Samantha Womack).  Exploring his rambling house they come upon the wardrobe, through which first Lucy, then Edmund and finally all 4 children travel to the land of Narnia.  

Exploring this new land, they encounter no end of mystical creatures who are currently under a 100 year spell of perpetual winter, cast by the evil White Witch (Samantha Womack).  Samantha plays the Witch with unnerving, understated menace – there is no over the top pantomime style evil, more a simple, quiet certainty that she will win.  As the children befriend the Narnians they realise that their coming has been foretold in many stories, ‘Sons of Adam’ and ‘Daughters of Eve’ being revered as saviours to help rid the land of the self-appointed queen.  Assisting Aslan The Lion (Chris Jared and an amazing walking puppet) the 4 humans adopt their new personas and thus the final battle scene is set.

Using ensemble members to play both background humans and the creatures of Narnia, complete with all the instruments and percussion makes this totally immersive – there are no lines of delineation between traditional on and off stage elements.  Fight scenes between animals are wonderfully choreographed by Jonathan Holby while Toby Olie and Max Humphries excel in their puppetry.

The key to this whole production is imagination – the set design is brilliantly simple, presenting an almost blank canvas upon which designers Rae Smith and Tom Paris paint the fantasy.  The transitions between the human world and Narnia are wonderfully etheric; swirling curtains of silk aid scene changes while the introduction of new characters is so organic they seem to grow from the stage. 

A number of original songs (by Benji Bower and Barnaby Race) present the characters with the avenue to expand on their backstories without detracting from the flow of the story while the incidental score heightens the fantasy even further.

Make no mistake, this may be a children’s tale but this is far from a pantomime production; it is rich, complex and multi-layered, presenting as much space for the audience to do their own imagining as it does the visual smorgasbord on stage.  

More than worthy of 5 stars, this production sets a new level of excellence to which any and every storyteller should attempt to reach.

9 to 5 at Sunderland Empire

 

More than just a cup of ambition, its a whole coffee shop

Remaining faithful to Patricia Resnick's book and the 1980's movie in both story and much of the script, 9 to 5 The Musical is a riot of song and dance, fun (more than a little risque in places) and makes for a brilliant evening.

The premise is centered on a stereotypical New York company in the 1980's - a corporate boys club where women are seen as second class items of titillation or simply to be tolerated as they perform the most menial of tasks, ran by CEO Franklin Hart Jnr (Sean Needham), a sexist misogynist who takes great pleasure in denigrating the female workforce.  Cue our three protagonists who, after a particularly difficult day discuss how they would like to kill off Hart.  

Whilst this may just be girl talk, it does get them thinking as to how they would change things should they ever get into the hot seat.  Following a hilarious encounter in Hart's office (resulting in him being hog tied at gun point), they find themselves presented with the opportunity to revise the working conditions and at the same rid themselves of Hart once and for all.

Violet (who for this performance was brilliantly performed by Sarah-Marie Maxwell in her debut appearance) Judy (Vivian Panka) and Doralee (Stephanie Chandos) work so well together as the lead trio - initially they are very separate with little time for each other and quite set in their opions but by the 2nd act they have formed a formidable triple threat.  Sean Needham as Hart keeps 'the boss' on the right side of despicable - he's not played as a pantomime villain, more a sad deluded middle aged man who believes his name plate entitles him to anything he desires.  His comeuppance at the end of act 1 is hilarious.  Special mention to Julia J Nagle who plays Roz, Harts office spy - her unrequited love for him doesn't just border on obsession, it is firmly entrenched in 50 Shades of ... 

With lyrics and music written by Dolly Parton you know you're guaranteed some fantastic songs and it is refreshing to have a musical that does not follow the traditional Broadway/West End formula.  There is tonnes of humour, great up tempo country-style numbers coupled with wonderful 3 way harmonies and all performed by the brilliant cast.  

Choreography by Lisa Stevens is amazing; she manages to pack in all the feelings of a busy office, loads going on without ever distracting from the leads, and at times it feels like a Busby Berkeley number.  Designer Tom Rogers deserves particular applause; the set, transitions and very clever use of perception is some of the very best this theatre will have ever seen.

Fans of Dolly, fans of the original film and certainly fans of funny musicals will LOVE this show and it guarantees to leave you singing all the way from 9 to 5 and back again.

9 to 5 is on at the Sunderland Empire (who work tirelessly to ensure you feel safe, relaxed and can enjoy the show) running until Saturday 13th November.

Waitress - a second helping please

The opening night of Waitress The Musical at Sunderland Empire was possibly the epitome of musical theatre bar none.  A love story set in a diner, the lead in an unhappy marriage but devoted to her passion for baking love into pies and a series of relationships that are totally relatable - Waitress is THE feelgood musical, completely deserving of all its plaudits.

The premise is of a waitress (duh) who spends her days creating fabulous pies (thus pandering to the American obsession with fruit filled pastries) for the diner patrons where she works.  Her marriage is a shell; on the outside she shows acceptance but inside her unhappiness and desire for more is what drives her forwards.  Add to this some sass and innocence from her diner co-workers and we have all the ingredients for total immersion in the world of deep south, small town, road side diners.

Lucie Jones as the lead Jenna is beyond compare; her portrayal as an independent woman shackled by the traditions of small town America but with dreams to take her far beyond a stove-chained wife moved everyone in the audience.  She brings innocence, wistful longing for a better life and yet a realism that counters the sugar coated happy ever after.  Sandra Marvin as Becky, Jenna's bff is truly amazing - she reminded me of the great Aretha Franklin in Blues Brothers - sass, love, fun and pipes to rival the greatest.  Evie Hoskins as Dawn, the innocent 3rd server of the diner trifecta adds a wonderful comedic element and plays wonderfully off George Crawford as her beau Ogie.

Jenna's love interest is Dr Pomatter, played by Matt Jay-Willis (he of the band Busted (whom I have seen live and I have to admit love their early 2000's tunes) Jay-Willis is wonderful, very reminiscent of a young Tom Hanks in both his mannerisms and understated comedic sensitivities.  Of course he can sing, but his acting and timing are 1st class.

To be honest, the whole cast were totally wonderful; a warm and engaging group who elevated storytelling to the highest level and enveloped the audience in a warm hug of escapism.  The stage and set were without doubt the best example in the country; I doubt the huge stage at the Empire has ever been used so perfectly - Sky Barnes (Stage Manger), Alex Sumner-Hughes (Director) and Sue Berry (Company Stage Manager) deserve awards for their delivery - in particular the number "She Used to be Mine" is possibly the most moving, and most brilliant stage scene I've ever seen.

There is so much humour in this show that some might be tempted to class it a comedy, yet the overarching premise is of never forgetting your dreams and remaining true to yourself. Waitress is a 5 star must see, very much worthy of a second slice and totally deserving of the full house standing ovation.

Waitress The Musical is on at Sunderland Empire until Saturday October 30th

School of Rock

 Class is Session – Make some Noise

Last night saw the Sunderland Empire Gala re-opening night and there could have been little doubt that choosing School of Rock was the best show to celebrate with.

Packed to the rafters, the theatre rocked as one as Andrew Lloyd Webber’s stage production of the 2003 Richard Linklater / Jack Black movie blew away any feelings of uncertainty and shone the bright spotlights back on the good times.

Led by Jake Sharp as Dewey Finn (reprising his role from the West End production) and joined by Rebecca Lock (Curtains) as Rosalie Mullins, Matthew Rowland as Ned Schneebly and Nadia Violet Johnson as Patty Di Marco, the stage was set for the adults to play second bill to the amazing cast of rock kids.

The story is one of Dewey Finn, wannabe rock god but actual sponger who dreams more than he delivers and is always looking to blame ‘The Man’ for his downfalls.  On a chance opportunity, Finn cons his way into a supply teacher role at a prestigious prep school and, throwing their curriculum out of the window, proceeds to teach the kids all he knows about rocking out and sticking it to the man.

The kids welcome this change in approach and, using their already considerable talents, begin to form Finn’s newest rock band, initially believing this was all part of the school system.  Ultimately, their/Finn’s aim is to win the Battle of the Bands, an open mike competition in a rock club but to do so, Finn must persuade principal Mullins that he should be allowed to take his class on the required ‘field trip’.

Jake Sharp is an amazing performer – channeling the mania of Jack Black, adding in a little John Belushi and then wrapping it all in great singing and brilliant guitar playing, his Dewey Finn is a lovable loser who frustrates as much as he excites.  Rebecca Lock, as principal Mullins, provides the starched counterpoint to Sharp, a locked box of repressed emotions, shouldering the burdens of the kids parents without any release valve until Finn shows her the way.  

Staying very true to the movie in both plot and many of the purpose written songs, the pace is relentless;  like all good rock albums it doesn’t let you rest before going into another great tune, all performed by the cast & band.  An opening announcement confirming that the kids all play their own instruments just serves to create even more awe at how amazing their performances are and all done with genuine enjoyment and masses of energy.

The only slight on this amazing night was that, due to an evacuation right after the last main musical number, the amazing cast were not able to receive the undoubtedly massive ovation they would have had at the final curtain – such a shame but if ever there was a great reason to go and see if again, this is it.

School of Rock is at Sunderland Empire until Saturday 9th October

Rocky Horror Show

 

“…I am a regular Frankie Fan”

If there is a better way to welcome back the crowds to live theatre then I have yet to see it.  This version of Rocky Horror Show, directed by Chris Luscombe and brilliantly lit by Nick Richings, brings all the camp goth horror rock that fans of the show demand, yet makes it still very accessible to any ‘virgins’ viewing for the very 1^st time; the in jokes, the audience heckles and cast responses land perfectly but don’t alienate those who are viewing the greatest rock horror musical with fresh eyes.

The story; lost couple Brad Majors (Ore Oduba) and his new fiancé Janet Weiss (Haley Flaherty) stumble upon a castle inhabited by ghouls, aliens, dead bikers, creatures and of course, Frank N Furter (Stephen Webb) –an egotistical megalomaniac with a proclivity for shiny things – basques, whips, oiled torsos.  Ably supported by his minions – Riff Raff (Kristian Lavercombe), Magenta (Suzie McAdam) and Columbia (Lauren Ingram) Frank corrupts the two lovebirds and so begins a night of debauchery which leaves them questioning their previously held values, their sanity and, who knows, perhaps life itself.

Ore Oduba as Brad is wonderful; brilliant comedic timing, character acting of the highest order and a powerful, yet vulnerable singing voice (especially during Once in your Life).  His musical theatre star has risen very quickly, debuting in Curtains opposite Jason Manford just a few years ago and now delivering one of the best Brad’s ever.

Guiding the way through this smorgasbord of sin is our narrator, a role which has, in itself, become as central to the evening's enjoyment as any of the leads.  Philip Franks embraces the tradition of breaking the 4^th wall, engaging with the audience and expecting their heckles (most of which are, in themselves traditional).  Franks adds in topical and current reference prompting much laughter and additional ribbing – Brexit, the cabinet, the economy and current social media trends are all cleverly woven into his responses to the delight of the audience.

Any production of RHS is a guarantee of a great night.  Over the years the levels of greatness have varied but with this current tour, the experience the cast have, and with the brilliance of Brad and in particular the narrator, there is a 5 star gold seal on top.

Rocky Horror Show is at Sunderland Empire until Saturday 25^th September.

Contains mature themes, flashing lights, rock music, blood, sex, partial nudity, funny one liners, feathers, whips, corsets, aliens, audio-vibratory-physio-molecular transport devices, naïve charm and plenty of muscle.

Book of Mormon at Sunderland Empire

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

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

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

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

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

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

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

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

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

Matilda @ Sunderland Empire

Fresh from the award winning & sell out run in the West End, Tim Minchin’s musical adaptation of Roald Dahl’s tale is a wonderful family treat guaranteed to leave everyone wishing they too were 5 again.

Produced by The Royal Shakespeare company, the story about a little girl’s discovery of her super powers and the eventual comeuppance of her abusive parents and the horrible bully Miss Trunchbull is one of the most endearing happy endings in children’s literature – coupled with some very catchy tunes and brilliant lyrics makes for one of the best modern musicals totally worthy of all the awards and accolades.

The position of Matilda, played for this performance by Annalise Bradbury must go down as the best children’s role since Annie – there is no end of opportunity for mischief, devilment and cheeky trickery and Annalise clearly has as much fun as the audience.  Of course, for each hero there must be an anti-hero – for this there are two in particular – Mr Wormwood (Matilda’s unscrupulous car salesman father) is dismissively played by Sebastien Torkia, full of annoyance that he even has a daughter and happy to try and chase the next big con.  Ms Trunchbull, the sadistic chokey-loving, children-hating, hammer throwing elementary teacher is undeniably the real star of the show – Craige Els seems 8 feet tall amongst the children and possesses such a menace that there were many adults in the audience who also quivered. Of course, the final events show that in the end it is Ms Trunchbull’s past that finally does for her and justice prevails.

Special mention must go to Miss Honey, Carly Thoms, whose beautiful voice acted as a complete opposite to the gruff Ms Trunchbull – Carly is a delight and totally believable as Matilda’s new adaptive mother.  

Split between Matilda’s new school and her evenings at the TV obsessed front room, the set & scenery (managed by Head of Stage Steven McGookin) has an uncanny familiarity which makes it very easy to slip into Matilda’s nightmarish world.   Brilliantly changed during performance, there is an almost balletic quality to the scenes morphing from one set to another which meant the audience never had need, nor chance, to look away – even during the interval there was a clever addition of Mr Wormwood bestowing his wisdom (which would certainly keep the younger viewers entertained during the 15 minute break).

The chance to see Matilda here in the North East is certainly one not to be missed – built on the quality of Roald Dahl, fed by the brilliance of Tim Minchin and performed by a whole cast of ridiculously talented children it remains a classic of modern musical theatre.

★★★★

Crazy For You @ Sunderland Empire

A musical romp which harks back to the 1930’s and perfectly encapsulates the musical magic of Ira & George Gershwin, Crazy for You is an award winning tale, revisited for a new UK tour and guaranteed to present the audience with a wonderful evening of song, dance and comedy.

Based on the brothers’ Girl Crazy, the story tells the tale of a down at heel theatre in Nevada about to be repossessed by the New York bank who hold the title deeds, only to find an unlikely saviour in the guise of the bank owners star & love struck son.  Following stereotypical portrayals of midwestern cowboys (hard working, hard drinking and somewhat simple), New York socialites (snooty, snobby and elitist) and theatre producers (extravagant and egotistical ‘luvvies’), the main players find their lives intertwined through fate, deceit and ultimately love.

The lead is played by Tom Chambers, no stranger to following the twinkle toes and dulcet tones of Fred Astaire – Chambers has starred in the stage version of Top Hat, recreated a solo dance routine from Damsel in Distress,  as well as amazing BBC viewers by winning Strictly Come Dancing.  He is perfectly suited to playing Bobby, the wealthy banker who pines to be on the stage. Equally adept at slapstick comedy as he is at performing complex tap routines, he drives the whole show along at such a pace that your head spins trying to keep up with all the interplay.  His portrayal of drunk Bobby pretending to be producer Bela Zangler while the real drunk Zangler mirrors his actions is physical comedy at its timeless best.

Playing opposite him as the daughter of the Deadrock, Nevada theatre owner Polly is the simply brilliant Charlotte Wakefield – Charlotte is an all singing, all dancing Calamity Jane but with more moves and less guns.  She gives a wonderful performance, equally vulnerable as she is headstrong without ever dropping into a pastiche of the cliched Wild West Tom Boy.

Adding more sex appeal than should really be allowed on a school night, Claire Sweeny oozes and  schmoozes as Irene, Bobby’s New York betrothed – perhaps the only fault of the whole show is that we see too little of Claire in the 1^st act, but her recreation of Michelle Pfeiffer’s famous piano scene in Fabulous Baker Boys (complete with a stunning red dress) more than made up for it.

Produced by the Watermill Theatre Company and directed by Paul Hart, this tour protects the integrity and legacy of the original production and ensures that, for all the razzamatazz and dancing, it is the Gershwin music that stays centre stage.  Timeless hits such as Embraceable You, I Got Rhythm, Someone to Watch Over Me, Naughty Baby, Nice Work and They Can’t Take that Away from Me mean everyone will recognise some of the tunes, whilst possibly being introduced to some of the brothers’ lesser known tunes.

Crazy For You is a brilliantly funny and entertaining show and one which is guaranteed to give a great evening.

★★★ ½

Jersey Boys @ Sunderland Empire

New Jersey, the 4^th smallest state by area but possibly the greatest for musical influence, has spawned some of the world’s most iconic performers – Frank Sinatra, Bruce Springsteen, Count Basie, Debby Harry, Job Bon Jovi, Dionne Warwick and Whitney Houston all hail from this, the US’s most densely populated province, but it is perhaps the bringing together of 4 guys, and its influence on their song writing, that has had the most impact on popular music as we know it today.

The Four Seasons were, and to many still are, ground-breaking in their harmonies, melodies and simplistic yet undeniably catchy hooks but like many super groups, the story of how the group formed, grew and ultimately broke apart is as interesting as any pop chart records.

This show, fresh from sell out runs at the West End, is a whistle-stop tour of the real lives of Frankie Valli and the seasons, told from their point of view and in a style that is instantly recognisable to their fans.  This is a warts ‘n’ all recounting – their initial start in petty crime, links to the East Coast mob and Italian culture and how they initially struggled to get anyone to listen to their own songs is made all the more amazing set to a backdrop of hit song after hit song.  Particularly interesting is how they came up with some of their most iconic classics – scribbled on the way to a meeting or just simply made up on the spot to fill a gap.

The pace of the show is relentless, it has to be if we are to be treated to the story of over 40 years at the top in just 2 and a bit hours, but not once does it feel rushed – it’s like getting on top of a tidal wave of musical brilliance and just riding it out.  The Four Seasons are one of a very few groups whose ‘Best Of’ album could easily fill 3 discs – Rag Doll, Dawn, Cant Take my Eyes off you, Opus 17, Beggin, December 1963 (and it’s celebratory recanting of Bob Gaudio’s ‘1^st time’), Walk Like a Man, Big Girls, My Eyes Adored you – the list goes on and on and on.  Perhaps what is more telling about their catalogue (and Gaudio’s writing in particular) is that there are as many hits left out of the show as there are in it.  

The 4 leads are a perfect blend of musical brilliance combined with very strong character acting – each is given enough centre stage to ensure the audience can appreciate their part in the history of the group.  Of course, to many, it is the vocal range of Frankie Valli that makes the Four Seasons’ hits so special and in Dayle Hodge, there is no doubt that Valli’s prowess and legacy is front and centre.  Dayle manages to retain an almost boyish charm, even through the sad scenes when Valli loose his marriage, his best friend and his daughter, and yet is still able to show the effects of the passage of time and the never-ending touring which meant Valli seldom had a day off. 

This is much more than a tribute act or a ‘story of the hits’ – Jersey Boys picks up the lives of 4 young men from an Italian blue collar suburb on the East Coast and lays bare all their hopes, dreams, excitement and disappointment for the audience to see.  It leaves everyone with a sense of “wow, I didn’t realise ….” as you find out about Valli’s family values which almost bankrupted him, brings tears to the eyes when you find out the truth behind some of his most poignant hits but most of all it gives you some wonderful earworms for the drive home.

★★★★★

The Rat Pack - Live from Vegas

It will be 20 years ago in May that the world lost one its most beloved and revered entertainers – Frank Sinatra is instantly recognisable, not only for his super smooth voice but his style and stage presence.  Fans of Frank are some of the most loyal and vociferous in the world so any production which attempts to recreate his Vegas Lounge shows is going to have to be perfect to pass muster.  The Rat Pack – Live from Las Vegas does just that – from the first raise of the curtain to the last encore, all the performers are note perfect and combine brilliant singing with the mannerisms and interplay that made their shows legendary the world over.

Hit follows hit including Pack favourites The Lady is a Tramp, Mr Bojangles, That’s Amore, I’ve Got You Under My Skin, What Kind of Fool Am I, Volare, My Way, Everybody Loves Somebody, Night and Day, S'Wonderful, Mack The Knife and many more. 

Frank Sinatra, played by the phenomenally talented Garrett Phillips, is clearly the leader of the pack, at times letting the other two, Nigel Casey as the always well oiled Dean Martin and David Hayes as the jack in the box live wire Sammy Davis Jr, mug off and play around while he stands and observes like a friendly but stern uncle.  Phillips never resorts to a cabaret version of Sinatra just trying to bang out the big numbers, he captures all the subtleties of the great entertainer without it ever feeling like an act, more like he has embodied the persona.

Casey manages to walk the fine line of Martin’s legendary drinking on stage to perfectly blend the brilliant crooning with just a frisson of ‘what am I doing again’ that always gave the impression he was one sip of scotch away from passing out.  Hayes has perfectly bottled the jazz freedom that Davis brought to the Rat Pack,  at times taking off on a scat journey that seemed a million miles away from the song he was meant to sing, yet always returning to the familiar tune in perfect timing.

The show is further enhanced by a very special guest Nicola Emmanuelle as a show stealing Ella Fitzgerald, the sensational Burelli Sisters and a stunning big band led by Matthew Freeman which creates a rich sound that wraps around you like a huge blanket.

Looking around the audience, most were of an age that would at least remember the songs being first released, if not the actual live shows, but a quick flick to YouTube and you can see all the original shows featuring these 3 mega stars – what is most impressive of this current show is that all the witty one liners, the ribbing between Dean Martin and Sammy Davis Junior, the master interjections by Frank Sinatra and the sense of 3 mates having fun is ever present.  This is far more than just a ‘Stars in Their Eyes’ type show, it feels like you’re being allowed to peek behind the door into a private lounge where three guys are just having fun with their mates.  Playful changing of lyrics, messing with the stage and set, trying hard to make each other laugh and of course, the suggestion that they are ‘well oiled’ all add to the sense of a full evening of entertainment.

For fans of the 3, this is a must see, for anyone who knows their songs and perhaps has a few favourites, go see this and pretend your back in the 50’s in Vegas - regardless of the size of the theatre you’re sat in, within a few minutes you feel like you’re in an intimate cocktail lounge, all that’s missing is the smell of cigarettes and the clink of glasses.

If you miss it at Sunderland Empire, this show is coming to the fabulous New Darlington Hippodrome from Tuesday May 8^th – tickets at https://www.darlingtonhippodrome.co.uk/whats-on/the-rat-pack-live-from-las-vegas

★★★★