Flashdance at Sunderland Empire

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

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

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

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

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

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

★★★

Young Frankenstein at the Theatre Royal

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

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

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

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

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

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

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

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

★★★★★ and a hump

The Very Hungry Caterpillar @ The Majestic Theatre, Darlington

Since 1969 when it was first published, Eric Care’s The Very Hungry Caterpillar has enthralled children of each and every generation – the illustrations and style have become almost synonymous for educational and entertaining children’s books and set out a blueprint for others to follow.  Now his creations have been brought to life on stage by Jonathan Rockefeller and, given the reaction from one particularly young theatre goer, this is a smash hit.

The show actually covers 4 of Care’s stories, each engagingly told through the use of some amazing puppets, very vivid lighting and lots and lots of movement – my grand daughter who only recently turned 1 sat riveted for most of the show, loving the non-stop action – in fact she only got restless when one of her favourite characters left the stage, standing on mum’s lap to shout for the sea horse to come back.

There is some very clever ideas around painting pictures which then come to life, emerging on stage as full size puppets which just added to the magic of the show and ensured it kept tiny and slightly bigger minds watching and guessing what might happen next.

Of course, the star of the show is the caterpillar and the eponymous final story is a finale to send all the audience, young and old, on their way home feeling very well entertained.  There were many comments from parents & guardians afterwards who were surprised by just how engaging it was for the adults as well as the children – I guess we have all read, listened to (or in some cases, been) The Very Hungry Caterpillar in our lives.

The Majestic Theatre in Darlington is the perfect venue for this very colourful and visually engaging show; it is intimate, relaxed and ideal to cater for children who might otherwise feel a little intimidated by a more austere theatre.  That sense of relaxation spread to the parents too and as such, everyone was able to sit back, kick back and wallow in good old-fashioned story telling brought right up to date.

Under Milk Wood @ The Peoples Theatre, Heaton

Set in the small Welsh fishing village of Llareggub, the play follows the comings and goings of the inhabitants over 24 hours and, by giving us a glimpse into their lives – both peculiar and somehow peculiarly ordinary – it manages to say something universal about the human condition. It is also wondrously, uniquely Welsh.

The characters who populate the fictional village have become household names: the blind old seadog Captain Cat forever mourning his dead love Rosie Probert, the Rev Eli Jenkins greeting each morning in verse, Polly Garter with her list of lost paramours, Mr Pugh who dreams of poisoning Mrs Pugh, Mrs Ogmore-Pritchard and her two dead husbands, Dai Bread and his two live wives.

For this production, the Peoples Theatre return to the true roots of Thomas’s intent – it was written as a “play for voices” and, when recorded by the BBC in January 1954, it became an overnight success seldom seen before or since.  Here, the cast play the recording artists in the BBC studio, suitably surrounded by period technology and equipment and sporting a variety of costumes which, whilst serve to transport the audience back in time, never try to compete for attention away from the words.

The 1^st Voice, in the main the narrator, was originally taken by Richard Burton; his rich, velvety, foreboding voice hushing the listener to tip toe down through the town before rising through the day like the sun.  Not an easy task, following someone so embedded in the cultural heritage of this play but Frank Coles is simply brilliant – for anyone yet to hear (or see) Under Milk Wood, the opening monologue is one of literature’s most demanding pieces and yet, despite having script in hand, Frank delivers it with the rhyme and rhythm so perfect for Thomas’s work without once glancing at the text. 

Steve Hewitt & Mike Smith are the 2 other ‘narrators’, lynchpins around which the villagers’ lives are woven, intertwined and exposed serving to move the story along like pieces of flotsam on a sea bound stream.  The rest of the cast are wonderful at taking multiple parts, no, not parts, personalities; not only did they change voices, their whole beings morphed into the different characters as they approached the microphones.

This was my first time at the Peoples Theatre at Heaton, Newcastle and it was a lovely experience – very friendly staff, intimate theatre with great acoustics and definitely one I would love to visit again.

Out of Order @ Theatre Royal Newcastle

Ray Cooney’s Out of Order at The Theatre Royal Newcastle

A farce is defined as “a comic dramatic work using buffoonery and horseplay and typically including crude characterization and ludicrously improbable situations”.  Often thought of as a quintessential British form of theatre, farces were designed to play on the disparity between the haves & have-nots, the posh and the poor, Upstairs v Downstairs in an attempt to allow people to laugh out loud at situations which are in all likelihood, happening in real life.

In Out of Order, Ray Cooney brings the farce right up to date and into the glare of the modern political spotlight.  In fact, if it wasn’t for the costumes and stage, it would be very easy to think you were watching a Private Eye exposé on Westminster.

Set around the attempts of Tory MP Richard Willey (Jeffrey Harmer) to enjoy an illicit night with the Labour Leader’s secretary Jane Worthington (gorgeous Susie Amy) instead of attending a cross party debate, every conceivable mishap befalls him, often of his own making, as he tries to dig himself out, protect his reputation and slope his shoulders of responsibility. Finding what he believes is a dead body, trapped in the sash of his hotel room window, Willey could have done the sensible thing, called the authorities and taken his medicine, but hey, that a great play would have not made.  Instead he drafts in his tortured and put upon PPS, George Pigden (Shaun Williamson) and so sets in motion an ever increasing catalogue of bizarre, ludicrous but always hilarious events.

The cast is brilliant, simply brilliant and kudos must go to casting director Mark Frankum for bringing together some very well known faces who never once step back into the roles for which they are best known.  Harmer conjures up the spirit of Rick Mayall from his Alan B’stard New Stateman times (a role which I believe was Mayall’s absolute best); he is sly, controlling, disingenuous, entitled, well, you know, a stereo-typical ‘Tory’ MP.  James Holmes, as the waiter, has the look and feel of Andrew Sachs’ Manuel but with a British Steel core – always looking for his tip before AND after providing whatever room service is required. I guess if I’m making comparisons to sit com legends then Arthur Bostrom as The Manager would be likened to Basil Fawlty but that would be unfair to Bostrom, he is less madcap and more straight man which gives each scene a lightning rod to ground the silliness.  Cameos by Sue Holderness as Willeys wife, Pamela and Elizabeth Elvin as Nurse Gladys Foster ensure that the scenes continue to flow with variety while Jules Brown (Ronnie Worthington) drew some very approving gasps from the ladies sat around me.

Star of the show is Shaun Williamson.  I owe a sincere apology to Shaun – sure, I knew his roles of the past and was aware that he didn’t mind being cast in roles that send himself up but I didn’t realise just what a truly fantastic comedic actor he is – his timing is on a par with the true comedy greats and his mannerisms, facial expressions and slapstick would rival those of Laurel & Hardy, Norman Wisdom and Benny Hill (in fact, should they ever decide to do a film of Benny Hill’s life then Shaun would get my vote to play the Angel master).

It’s difficult to explain all the scenes, so quick is the pace and incessant the gags and pratfalls, but suffice it to say, you must ensure you grab every opportunity to breath otherwise you could find yourself laughing non-stop until you pass out.

The beauty of Cooney’s writing is that this play can be easily updated to include current references and thus make it always feel very relevant; Jeremy Corby and Theresa May are both name called, whilst the behaviour of the lead characters seem to be constantly reflected in most Sunday papers.

On a day that was fraught with sadness, angst and anxiety, it was perfect to be able to step outside of the world and enjoy a few hours of unapologetic fun in a wonderful theatre.