BEAUTIFUL: THE CAROLE KING MUSICAL, Aldwych Theatre, Wednesday 18th February, 7.30pm

Broadway’s latest import is a biographical musical about one of America’s greatest songwriters and it’s a lovely tribute to the natural woman.

The Cast of Beautiful

Beautiful tells the story of Carole King, from her successfully selling her first song as 16-year-old Carole Klein, her many years as a writer behind the scenes, her relationship with Gerry Goffin, through to her performance at Carnegie Hall in 1971. As well as telling the story of King, we meet and hear songs from Barry Mann and Cynthia Weil.

Firstly I should point out that this is a jukebox musical, which is where the soundtrack consists of already existing songs, normally with a theme throughout, in this case the music of King, Goffin, Mann and Weil. However, many jukebox musicals make up a story to fit around the music, and the book is often very thin such as We Will Rock You and Mamma Mia!. Actually based on the story of the writers themselves, this was not the case and is a rare example of a good jukebox musical.

Ian McIntosh and Lorna Want

The set is great, with incredibly smooth transitions. Derek McLane has done a wonderful job by making the set look brilliant, and help forward the piece but never distract from the story and what is happening. One of the best parts of the set is the piano, which is on a track, that moves and rotates it to put it where it needs to be for each room. Seeing as this is about the songwriters, there is hardly a moment where the piano isn’t on stage and this is a great way of moving it instead of having people push it around. Most essential is the sound design, which is executed brilliantly by Brian Ronan. Alejo Vietti’s costumes, like the set are appropriate, great but never distracting. Overall, the choreography isn’t groundbreaking, but I wouldn’t expect it to be, with Josh Prince’s steps marrying the music. Altogether, Marc Bruni has directed a great piece of theatre.

“A rare treat in the form of a good jukebox musical”

The book is actually good! Whilst this isn’t the first biographical musical, it is the first one that I’ve been impressed by (Jersey Boys didn’t work nearly as well as this). Douglas McGrath has created a script that is often funny, with moments of seriousness and some highly touching scenes. Working with the wonderful music, each song is in the perfect place in the show. Highlights include ‘On Broadway’, ‘Some Kind of Wonderful’, ‘Walking in the Rain’, with signature songs ‘You’ve Got a Friend’ and ‘(You Make Me Feel Like) A Natural Woman’ being some of the sweetest moments in the show.

Katie Brayben

The cast are just right too. Alan Morrissey makes a great Gerry Goffin, and even though there are times when you hate him, he is still very likable. Lorna Want and Ian McIntosh make a great pair as Cynthia Weil and Barry Mann. All three of them, along with the ensemble, have beautiful and very impressive voices. But the star here is understudy Joanna Woodward as Carole King. I have to admit I was concerned when I wasn’t getting to see Katie Brayben but Woodward put all my worries to rest in her first performance as King. The likeness to King is uncanny so if Woodard is this good, I can only imagine how wonderful Brayben will be when I return (which I most certainly will!)

This is a show full of high production values that never distract from the characters you see. The sound is wonderful and it’s rare that you’ll hear this many pop songs of this caliber anywhere else. A rare treat in the form of a good jukebox musical, this is a tribute to King that is appropriately titled Beautiful. A fun night for all involved, I expect this show to run for a long time to come.

Photo credits: Brinkhoff Moegenburg

A VIEW FROM THE BRIDGE, Wyndham’s Theatre, Wednesday 18th February 2015, 2.45pm

The Young Vic production of Arthur Miller’s tragedy makes its way to the West End, bringing intensity and high drama with it, along with some storming performances.

Phoebe Fox, Mark Strong and Nicola Walker

A View From the Bridge tells the story of Eddie Carbone, a longshoreman. He lives with his wife, Beatrice, and his niece, Catherine. When Beatrice’s cousins from Italy come to stay and work illegally, they exploit Eddie’s hospitality, and one pushes his boundaries, especially with Eddie being highly protective over Catherine. We are told, by the narrator in the form of lawyer Mr. Alfieri, from the start that the story will end in tragedy.

“Strong’s performance is colossal”

Presented as one two-hour act, this is one of the most intense productions I have ever seen. The design and lighting by Jan Versweyveld is beautifully minimalistic, with only one door at the back for entrances and exit, and a barrier surrounding the actors that they also sit on at times. There is also seating on stage to emulate the ‘in-the-round’ staging when it was at the Young Vic. Whilst the lights do occasionally change to match the mood, it is very subtle and works wonders. Throughout the piece there is music playing, often very quiet but it is always playing, with an occasional drum beat at moments of high drama. This keeps the piece flowing and the intensity up throughout. One thing that I noticed was the actor were all bare foot, except for a moment where Catherine briefly puts on high heels and at the start with Alfieri addressing the audience. However, Alfieri takes off his shoes before he enters the space, which I thought was a nice touch. Tying it all together is Ivo Van Hove’s wonderful direction. One of the highlights of the piece is where the immigration officer comes (spoilers, but the play has been around for almost 60 years) and instead of the characters running about, we have Alfieri speaking the stage directions aloud. This was the perfect moment for this, if done at any other point in the play it wouldn’t have had nearly as much impact.

The Cast of A View From the Bridge

The performances here are insanely good. Everyone here deserves their place on the stage, with highlights from Emun Elliott as Marco and Phoebe Fox as Catherine. But the standout here is Mark Strong as Eddie. Strong’s performance is colossal. He brings the raw power to Eddie that is required to feel for this character and by the end you have seen his transition into a monster. I was sat right at the back of the theatre and even from there I was entirely drawn to Strong. He has a hold on the audience that is currently unrivaled in London’s dramatic theatre.

This is only an 8-week strictly limited engagement so grab a ticket whilst you can for this highly acclaimed production. A world class performance from Mark Strong added with the world class direction from Ivo Van Hove make for this world class play.

Photo credits: The Guardian, Love Theatre, Jan Versweyveld

THE RULING CLASS, Trafalgar Studios, 16th February 2015, 7.30pm

Jamie Lloyd’s Trafalgar Transformed: Season 2 continues with Peter Barnes’ black comedy starring a highly athletic James McAvoy.

James McAvoy and Kathryn Drysdale

The Ruling Class tells the story of Jack Gurney, who inherits the title of 14th Earl of Gurney after his father’s passing. Jack has a huge Messiah Complex, is a possible paranoid schizophrenic and due to him also inheriting his father’s large estate, he gets caught in the middle of a power struggle with his family.

The production is fantastic and works wonderfully in the space. The Trafalgar Studios are big enough to accommodate high production values and effects but also small enough to keep the show intimate. Soutra Gilmour’s set is brilliant, with flowers that appear from the floor being a particular highlight. The lighting design is superb, with Jon Clark capturing the aesthetic beautifully. The production had a few showy song and dance numbers, adding to the surreal nature of the piece. Whilst not the most complicated and intricate choreography (which it didn’t need to be), Darren Carnall’s steps and movement help with the progression of the story. It is all tied together with Jamie Lloyd’s excellent direction, which is no surprise (to quote my Urinetown review) as “it seems that everything Jamie Lloyd touches turns to gold”, with The Ruling Class keeping this in check.

On James McAvoy:

“One of the most versatile young actors working right now”

The play itself is wonderful. Whilst the majority of the play is comedic, particularly in act one, there are a fair amount of highly dramatic scenes, which managed to fit in well. The mix of comedy and drama is crafted with care by Barnes and it pays off. Be the piece funny or serious, it is always sharp. This is the wittiest play I have seen in a long time, with some of the wittiest writing and language I’ve seen in an even longer time. Even though the play was originally performed in 1968, it seems as fresh today, which is a credit to the late Barnes.

James McAvoy

The cast are all brilliant, working like a well oiled unit. The rapport between performers in the piece is absolutely necessary as it heavily relies on comic timing, with the execution being pitch perfect all the way through. Standout performances come from Anthony O’ Donnell as manservant Daniel Tucker, who bring a great energy to the highly comical role, Kathryn Drysdale as Grace Shelly, an actress put up to help Jack through his madness and (what I’m assuming is, couldn’t tell because of make-up and costume) Forbes Masson as another schizophrenia with a Messiah Complex at the end of the first act. However, the star here is James McAvoy as Jack, proving to be one of the most young versatile actors working right now. He is incredibly athletic, prancing about the stage and throwing himself every which way. He has full control over his voice and is a highly commanding stage presence. There’s a reason he draws in a good crowd and this is a full showcase of his abilities.

To conclude, if you see anything that resembles a ticket, grab it whilst you can. This razor sharp comedy with some stellar performances, particularly from McAvoy is not to be missed!

Photo credits: The Standard, Love Theatre, The Telegraph

DI AND VIV AND ROSE, Vaudeville Theatre, Saturday 14th February, 7.30pm

Originating at the Hampstead Theatre in 2011, Di and Viv and Rose makes its way to the West End with some brilliant performances.

Jenna Russell

Amelia Bullmore’s play tells the story of the three titular girls and charts their life, starting by them moving into a house together at university and spanning decades, with the audience seeing glimpses into their lives along the way. You have Di, a sporty lesbian, Viv, a career driven academic and Rose, a promiscuous yet sweet young girl. You see how they bond, change and grow as the years go on.

“The way Bullmore allows the characters to grow is welcomed, as you really do care for these three girls”

A recurring piece of the set is what we first see, three light frames on black surfaces. These are here to cover set changes but are also used as standing points for the three actors to keep the play going. The entirety of the first act, excluding the opening in front of the frames, is set within the house. The set, and majority of the play, is entirely naturalistic, with what appears to be a student house, from the wallpaper to the sofa to the shelves and kitchen hole in the wall. The second act set consists of three walls, the side ones with doors, with tables and chairs appearing and disappearing based on the scene. Paul Wills’ set is fully utilised and works wonders for the piece. The sound design incorporates door sounds and the stereo system and with impeccable timing and panning, it adds to the already clear naturalism.

Tamzin Outhwaite

Bullmore’s script is largely comedic. She appears to be a master at dropping bombshells when you least suspect them, with two moments (which I won’t spoil) hitting the audience really hard, to which I heard the entire theatre gasp. However, even in some of the heavier moments in the play, there are elements of comedy, which are fed in at just the right level, not too much to ruin a moment, yet not too little so the joke is lost. This isn’t easy so I admire Bullmore for that. Whilst initially the characters appear to be stereotypes, the way Bullmore allows the characters grow is welcomed, as you do really care for these three girls, particularly with the writing in act two, which is a step up from before.

“All three have their moments of comedy and drama that are pulled off equally well”

Not having read the play, I don’t know if the were written stage directions or if it was one of Anna Mackmin’s directorial choices, but there were a lot of pauses, mainly in the first act. Whilst some of them had purpose, others didn’t and it slowed the pace of the play. I reckon it might have been a times trying to be too naturalistic, but I can cope with a few pacing issues when I’m watching this perfect trio.

Samantha Spiro

The cast were just fantastic with wonderful chemistry. All three have their moments of comedy and drama that are pulled off equally well. I am once again shown that Jenna Russell can do no wrong, as the ditsy character of Rose, that could easily be a secondary character at times, is possibly the one you first care for the most. She is fun, loving and sweet, but not in a two-dimensional way. Her charisma fills the theatre. Just like the other two, she is always changing and growing. Samantha Spiro is appropriately cold as Viv but still has her moments of fun. Even though it’s tough to like her due to the nature of the character, you still care, particularly come act two. Tamzin Outhwaite, who has been with the play since Hampstead is wonderful as Di. When her big moment comes in act one, she captures the necessary emotion (I won’t say what) and girth needed, and she is particularly strong here in act two. You can tell that Outhwaite has been with this play the longest as every move, line and expression is pitch perfect.

Whilst the play takes a bit to get revved up, once it does, it hits hard, in both a dramatic and a comedic sense. ‘It’ll make you laugh, it’ll make you cry’ really does apply here, with something for everyone. If for no other reason, catch this cast working together because it has moments of pure magic.

Photo credits: Johan Persson, Visit London, WhatsOnStage, Love Theatre

My WhatOnStage Awards Predictions

So we’ve come to that time of year. It’s awards time!! No, not the Oscars (although I am excited for those too) but the WhatsOnStage awards! These awards are voted for by the public, setting them apart from any other major London theatre awards. I did vote, yet my predictions slightly differ. I reckon quite a few of the awards are 90% set in stone already because of the large fanbase of a certain show, and if the musical acting awards go to anyone else, I will be very surprised. There are many worthy nominees this year and I wouldn’t be disappointed, just surprised. Remember, this is not who I voted for, this is who I predict will win. My predictions (in bold) are:

Best Actor in a Play:
• David Tennant, Richard II
• Mark Strong, A View From the Bridge
• Richard Armitage, The Crucible
• Tom Bateman, Shakespeare in Love
• Tom Hiddleston, Coriolanus

Best Actress in a Play:
• Billie Piper, Great Britain
• Gillian Anderson, A Streetcar Named Desire
• Helen McCrory, Medea
• Imelda Staunton, Good People
• Lucy Briggs-Owen, Shakespeare in Love

Best Actor in a Musical:
• Alistair Brammer, Miss Saigon
• Jon Jon Briones, Miss Saigon
• Killian Donnelly, Memphis the Musical
• Marti Pellow, Evita
• Robert Lindsay, Dirty Rotten Scoundrels

Best Actress in a Musical:
• Beverley Knight, Memphis the Musical
• Eva Noblezada, Miss Saigon
• Gemma Arterton, Made in Dagenham
• Jenna Russell, Urinetown the Musical
• Madalena Alberto, Evita

Best Supporting Actor in a Play:
• Adrian Schiller, The Crucible
• David Oakes, Shakespeare in Love
• Hadley Fraser, Coriolanus
• Mark Gatiss, Coriolanus
• Nathaniel Parker, Wolf Hall & Bring Up the Bodies

Best Supporting Actress in a Play:
• Anna Madeley, The Crucible
• Deborah Findlay, Coriolanus
• Nicola Walker, A View From the Bridge
• Samantha Colley, The Crucible
• Vanessa Kirby, A Streetcar Named Desire

Best Supporting Actor in a Musical:
• Ben Forster, Evita
• George Maguire, Sunny Afternoon
• Hugh Maynard, Miss Saigon
• Kwang-Ho Hong, Miss Saigon
• Rolan Bell, Memphis the Musical

Best Supporting Actress in a Musical:
• Claire Machin, Memphis the Musical
• Karis Jack, Urinetown the Musical
• Katherine Kingsley, Dirty Rotten Scoundrels
• Rachelle Ann Go, Miss Saigon
• Samantha Bond, Dirty Rotten Scoundrels

Best New Play:
• Great Britain
• King Charles III
• The Nether
• Shakespeare in Love
• Wolf Hall

Best New Musical:
• Here Lies Love
• Made in Dagenham
• Memphis the Musical
• Sunny Afternoon
• Urinetown the Musical

Best Play Revival:
• Blithe Spirit
• Coriolanus
• The Crucible
• Richard II
• A Streetcar Named Desire

Best Musical Revival:
• Evita
• Miss Saigon
• The Pajama Game
• Porgy and Bess
• Sweeney Todd

Best Direction:
• Christopher Ashley, Memphis the Musical
• Gregory Doran, Richard II
• Jamie Lloyd, Urinetown the Musical
• Laurence Connor, Miss Saigon
• Yaël Farber, The Crucible

Best Choreography:
• Ann Yee, Urinetown the Musical
• Bob Avian & Geoffrey Garratt, Miss Saigon
• Drew McOnie, In the Heights
• Jerry Mitchell, Dirty Rotten Scoundrels
• Sergio Trujillo, Memphis the Musical

Best Set Design:
• Bunny Christie, Made in Dagenham
• David Gallo, Memphis the Musical
• Nick Ormerod, Shakespeare in Love
• Soutra Gilmour, Urinetown the Musical
• Totie Driver & Matt Kinley, Miss Saigon

Best Lighting Design:
• Adam Silverman, Urinetown the Musical
• Bruno Poet, Miss Saigon
• Howell Binkley, Memphis the Musical
• Jon Clark, Made in Dagenham
• Mark Henderson, Coriolanus

Best Off-West End Production:
• Dogfight, Southwark Playhouse
• Forbidden Broadway, Menier Chocolate Factory
• In the Heights, Southwark Playhouse
• Oh, the Humanity and Other Good Intentions, Tabard Theatre
• Sweeney Todd, Twickenham Theatre

Best Regional Production sponsored by Travelzoo:
• Guys and Dolls, Chichester Festival Theatre
• Gypsy, Chichester Festival Theatre
• The Kite Runner, Nottingham Playhouse and Liverpool Everyman & Playhouse
• Oliver!, Sheffield Crucible
• Water Babies, Curve Leicester

Best Takeover in a Role sponsored by Equity:
• Craige Els, Matilda the Musical
• David Hunter, Once
• Jennifer DiNoia, Wicked
• Kerry Ellis, Wicked
• Michael Watson, Jersey Boys

Best West End Show:
• Les Misérables
• Matilda the Musical
• Memphis the Musical
• Miss Saigon
• Wicked

So there you go! I reckon it will be a near clean sweep for Miss Saigon due to it’s huge popularity, and I reckon it deserves many of the awards. In many of the categories there are people that also thoroughly deserve the awards, particularly in the acting categories as there have been some splendid performances this year, but this is who reckon will pull the prize.

Do you agree or not? Please let me know! If you are going to the ceremony, I am very jealous of you but hope you have a wonderful time!

Photo credits: WhatsOnStage

MISS SAIGON, Prince Edward Theatre, Friday 13th February, 7.30pm

The heat is on! I see Miss Saigon for the second time since it was revived and it’s just as wonderful as I remember!

The Cast of Miss Saigon

Miss Saigon tells the story of Kim, a young girl orphaned by war. She takes a job with the seedy Engineer as a barmaid. She falls in love with an American GI, Chris, but the two are torn apart by the fall of Saigon. This epic love musical is set against the backdrop of the Vietnam War and is based on Puccini’s Madame Butterfly.

I was expecting great things from Miss Saigon, both times I saw it. The first time was two days after its press night, after hearing spectacular things about it and it lived up to the hype. I decided to return to see the cast before it changed over and because certain elements from my previous viewing were hazy. I was not disappointed.

“Whilst musically it’s not the most difficult score, it is more than epic”

Firstly, the design is spectacular. Totie Driver and Matt Kinley deserve a standing ovation for this spectacle of a set, with Bruno Poet’s lighting complimenting it perfectly. The big draw to Miss Saigon is, of course, the helicopter, which is executed very well. I remember from my first time seeing it that it was a little shaky, but that was early in the run so whatever the problem was then has obviously been fixed. It comes in so smoothly, a full size helicopter. I never saw the original production so this had a huge effect on me when I first saw this spectacular theatrical feat. Laurence Connor has told the story clearly with no messing about, his direction was highly suited to the production.

Eva Noblezada and William Tao

The score has become iconic since it’s premiere and is still as fresh as ever. Claude-Michel Schönberg has captured the sound of Saigon whilst keeping it Western enough for London audiences. Whilst fairly straightforward, it has its moments of complexity that are welcomed and applauded. Alain Boublil and Richard Maltby, Jr’s lyrics match the score to a tee, presenting this tragic love story elaborately. Whilst musically it’s not the most difficult score, it is more than epic and is draining to perform, so a very big well done to the cast.

On Eva Noblezada:

“One of the brightest young stars in musical theatre”

Here I saw a few understudies, which was welcomed, especially since I had seen the main cast before. The people I came to see were here so I was happy. I saw Dale Evans as Chris, a promising young performer with a pitch perfect voice. He portrays Chris with sincerity and passion in all the right places, matching that of Alistair Brammer. Kurt Kansley filled in as John, and whilst not reaching the power and intensity that Hugh Maynard does, he did a very good job holding his own. Ethan Le Phong fills in brilliantly for Kwang-Ho Hong as Thuy, bringing a fresh approach to the role. Rachelle Ann Go is fantastic as ever as Gigi, showing a great sense of vulnerability during her spotlight moment in ‘The Movie In My Mind’.

Jon Jon Briones

The two stars here are obvious, Jon Jon Briones as The Engineer and Eva Noblezada as Kim. Briones give so much energy to the character of The Engineer from the word go. You know the character is sleazy, but you love him anyway, which is because of Briones’ interpretation. He exudes comedy, but never overdoes it. He is a master of working the audience, best displayed in showstopper ‘The Ameican Dream’. Noblezada is perfect as Kim. She has a fragility to her performance that is absolutely necessary of the character, yet she is fierce when it is demanded. Noblezada has a voice that soars above all, especially for a girl of 18. As I said in my review of her performance in Georgia Stitt’s show, I hope she becomes as much of a sensation as Lea Salonga did before her as she more than deserves it as one of the brightest young stars in musical theatre.

So if you haven’t already seen the show, this needs to change and soon. Catch Eva Noblezada and Jon Jon Briones whilst you can (I would imagine the cast will change around May), because if this production heads to Broadway, which it should do, they will more than likely be going with it. It is equal balance substance and spectacle, which is rare in theatre nowadays, so get down to the Prince Edward ASAP!

Photo credits: Love Theatre, Michael Le Poer Trench, Matthew Murphy

WOMEN ON THE VERGE OF A NERVOUS BREAKDOWN, Playhouse Theatre, Saturday 10th January 2015, 7.30pm

Originally posted on 12th January 2015 via Tumblr

The musical adaptation of Pedro Almodóvar’s comedy finally makes its way to the London stage, and it is worth the wait!

Seline Hizli, Tamsin Greig and Anna Skellern

Women on the Verge of a Nervous Breakdown tells the story of Pepa, an actress in Madrid. It takes place over three days in which Pepa’s lover leaves her and she cannot get in touch with him. This leads her down a long spiral along with a few other women, each having their own crisis including living with a terrorist and an ex-husband moving on. As you can imagine, anarchy and hilarity ensue.

“The piece is messy yet controlled and that works for the totally insane story”

I should point out that I went into the theatre with some quite low expectations. I knew (and enjoyed) parts of the score before and was excited to see Tamsin Greig, Anna Skellern and Willemijn Verkaik. So why was I expecting the worst? When originally on Broadway in 2010, the production didn’t go down so well. I knew revisions had been made for this version but I was still concerned. However, after a slow first 10 minutes, thanks to Bartlett Sher’s brilliant direction, all my concerns were put to rest.

The Cast of Women on the Verge of a Nervous Breakdown

The first thing I should talk about is the sound. Performed by an onstage band, David Yazbek’s wonderful Spanish-influenced score fills the theatre perfectly. Paul Groothius and Tom Marshall have done a phenomenal job on the sound design, with a perfect mix for the band. It probably sounded even better to me as I’d witnessed the awful sound in Bat Boy at the Southwark Playhouse earlier that day. Peter Mumford and Anthony Ward have done equally great jobs on the lighting and sound design respectively.

“Lane’s book is witty, fast paced and hilarious to match the score”

As I said before, Yazbek’s score is strong in Spanish influence. It works perfectly to advance the story and doesn’t stop the action like some scores can. Highlights include ‘Model Behavior’, ‘Madrid’ and ‘On the Verge’. Jeffrey Lane’s book is witty, fast paced and hilarious to match the score. I believe one of the main issues with the Broadway production was that it was rather messy. The piece is messy yet controlled and that works for the totally insane story, down largely to Sher’s direction and the execution by the cast.

Tamsin Greig and Ricardo Afonso

The cast is brilliant. Just brilliant. Tamsin Greig is a star and has the pipes to match it. I’ve never seen her in anything and not loved her and this is no different. Her comic timing is perfection. Ricardo Afonso as the Taxi Driver (that also acts as a sort of narrator) has a voice that soars to match the band and it sounds wonderful. Anna Skellern plays Candela to simplistic perfection, with her rendition of ‘Model Behavior’ being one of the highlights. Everyone else in the cast was brilliant but Greig and Skellern stood out above the rest.

So there we go! What had so much potential to be a trainwreck turned into something beautifully manic, and I wouldn’t want the production to be any tidier than it was. If you are looking for a fun night at the theatre, then this is a great choice, particularly thanks to Greig. A great comic musical, but with a limited run so catch it whilst you can!

Photo credits: The Independent, The Guardian

THE SCOTTSBORO BOYS, Garrick Theatre, Saturday 18th October 2014, 2.30pm

Originally posted on 31st October 2014 via Tumblr

Shout! The Scottsboro Boys transfers to the West End, and it is sensational!

The Cast of The Scottsboro Boys

The show, which runs as one act, is based upon the true events of nine black boys in 1931 on a train in Alabama who are wrongly accused of rape. Being taken off the train and thrown in jail, a trial is arranged for them. They manage to avoid being lynched but are put through many other trials and situations. Throughout these events, their friendship grows. The musical is presented as a minstrel show, with the actors playing multiple characters other than the titular group.

“I have never seen a full cast this broadly talented”

The score, which is the final collaboration of the legendary Kander & Ebb, is largely ragtime based. It is also mostly jolly, which often opposes the subject matter. Susan Stroman assists with this through her brilliant direction and choreography. One number, ‘Electric Chair’, is a tap number about what you’d expect. I found myself smiling at the fantastic music matched with the stellar choreography, only to then realise how dark the piece actually was, with the actors deadpan face, with arms and legs flopped as if they were puppets on a string. This tone is carried throughout, never being sure if I should be smiling or not.

James T Lane, Forrest McClendon and Dex Lee

The whole cast is exceptional. Just exceptional. I have never seen a full cast this broadly talented. Each and every single one of them executes the choreography effortlessly and they all work together so well, physically and vocally. Led by the fantastic Brandon Victor Dixon as Hayward Patterson, with standout performances from Colman Domingo as Mr Bones, James T Lane as Ozie Powell/Ruby Bates and Dex Lee as Charles Weems/Victoria Price. Lane performs Ruby with the most energy I have ever witnessed, but whilst playing Ozie (SPOILERS) after a life changing event, I’ve never seen a more intense performance of that kind. Lee is a very close second to Lane’s energetic performance, whilst Domingo, as required, is the most versatile performer here and switches between characters seamlessly.

I urge you all to go and see this show. You won’t be sure whether to be tapping along or feeling uncomfortable at times, but this is one of the most thought provoking, spectacular pieces of theatre currently in the West End. It is a great example of cast and creative coming together as one. Catch this almost-perfect show with this beyond-perfect cast whilst you can!

UPDATE (06.02.15): I saw this show again a couple of days ago and it still remains as the best musical I have ever seen. The show closes on 21st February 2015, I cannot stress enough that you NEED to see this show.

Photo credits: Johan Persson

MADE IN DAGENHAM, Adelphi Theatre, Monday 27th October, 7.30pm

Originally posted on 29th October 2014 via Tumblr

Stand Up! The musical based on the film based on the true story is a delightful night out with a poignant second act. Starring Gemma Arterton, there is a bit of something for everyone (although maybe call the babysitter, the language is not for the young or the easily offended).

The Cast of Made In Dagenham

Made In Dagenham follows Rita O’Grady, a sewer for the Ford factory based in Dagenham. When classed as unskilled, O’Grady leads the strike in demand of sexual equality, which results in the creation of the Equal Pay Act 1970. Apologies for the spoiler, but it’s a fairly well known story/historical landmark.

“It’s fluff, but the good kind of fluff”

Rupert Goold does not disappoint in his vision. I expected great things from Goold after seeing American Psycho at the Almeida Theatre, one of the most technically impressive shows I have ever seen. The most standout aspect from the creative side is Bunny Christie’s exquisite set. Based on model kits of cars, the set turns into doors, windows, stages. The Adelphi is just the perfect size for this kind of production, not too big, not too small, it’s Baby Bear’s bed, just right! (I will update with photos of the set when they become available).

Gemma Arterton

The score is nothing to be sniffed at. David Arnold and Richard Thomas has created some highly enjoyable music, as well as some wonderfully moving moments. It fits very well with Richard Bean’s highly comedic book, whilst keeping it serious where it needs to be. Whilst this show could have been heavy given the subject matter, it is told with charm and keeping it light enough to make sure we don’t walk out of the theatre depressed. It’s fluff, but the good kind of fluff.

“Gemma Arterton is a sensation”

The cast is fantastic. Adrian Der Gregorian makes a fantastic Eddie O’Grady, with a voice that soars. His big ballad in act 2, ‘The Letter’ is a true showcase of his ability, both singing and acting. Mark Hadfield is hilarious as Harold Wilson, even if at times he is unsure of his accent. The rest of the supporting cast are brilliant, with standout performances from Sophie Stanton as the foul-mouthed Beryl and Sophie-Louise Dann as Barbara Castle. The crowning glory here though is Arterton. In her first musical role, Gemma Arterton is a sensation. As O’Grady, she embodies the character, pulling on your heartstrings where needed, as well as making you laugh. Her casting is a stroke of genius and a positive example of ‘stunt’ casting. Her voice is a beautifully sweet tone that I could happily listen to for hours on end.

Whilst not the grittiest show in the world, Made In Dagenham makes for a wonderful night out to the theatre, filled with laughter and just enough thought provoking material without crossing the line towards a sermon. Gemma Arterton is a star and I hope she sticks with her singing as she is damn good at it!

Photo credits: Roy Tan, Love Theatre

MEMPHIS, Shaftesbury Theatre, Saturday 25th October 2014, 7.30pm

Originally posted on 26th October 2014 via Tumblr

Hockadoo! Memphis finally makes it over to the UK and it comes out with a bang so Stand Up and Say a Prayer for a ticket!

Beverly Knight and Killian Donnelly

Memphis tells the story of Huey Calhoun, a white man in the 1950s who decided to put ‘coloured music’ on the radio in (you guessed it) Memphis, Tennessee. The piece tracks his rise to fame, the relationships he develops along the way and the controversy surrounding racial integration of the time.

On Sergio Trujillo’s choreography:

“Infectious combinations and impressive tricks, executed brilliantly by the ensemble”

I’ve been a fan of Memphis after seeing the Broadway production on DVD a couple of years ago and 4 years seems like a long time for such a crowd pleasing show to make it overseas. The score, similar to Hairspray, has influences from music of the 50s, particularly rock ‘n roll and Rhythm ‘n’ Blues, also known as ‘black music’. David Bryan of Bon Jovi has written a score that is periodically accurate that is the yin to Joe DiPietro’s book’s yang.

The Cast of Memphis

I find it hard to separate this review into sections as the whole piece works so well together. A tip of the hat has to go to Christopher Ashley who has done a fine job directing this very polished production. However, the definite winner of the creative team has to be Sergio Trujillo for the fantastic choreography displayed. It captures the mood of the underground movement of the time and always makes you want to dance along, with such infectious combinations and impressive tricks, executed brilliantly by the ensemble. Special mention goes to Alex Thomas, who was a stand out dancer in one of the few shows you would be allowed to stand out in the ensemble compared to the regimented choreography of other shows.

On ‘Memphis Lives In Me’:

“That soaring note at the climax is possibly the most moving moment in the whole show”

The performances of the supporting cast are just wonderful. Tyrone Huntley as Gator has the sweetest voice out of the whole cast, demonstrated in the beautiful ‘Say a Prayer’, featuring one of the best choral ‘swirls’ you’ll find this side of the Atlantic. Jason Pennycooke plays Bobby brimming with energy that you can’t help but smile at. Rolan Bell brings such a power to the role of Delray, with ‘She’s My Sister’ as a highlight. I have to say I wasn’t convinced by Claire Machin as Gladys and was not a fan of her rendition of ‘Change Don’t Come Easy’ but not every production is perfect.

Killian Donnelly

Speaking of perfect, that brings me onto our two leads. Beverly Knight is a sensation as Felicia with a voice that had me welling up every time she opened her mouth to sing. ‘Colored Women’ is her defining moment in the show, performing with such raw emotion and vulnerability. The MVP here though is Mr. Killian Donnelly as Huey Calhoun. The part has a very fine line between being a quirky, lovable character and becoming a cartoon and Donnelly manages to stay on the right side of that line, floating close enough to it to make him that much more lovable. He radiates charm as Calhoun that I’ve not seen since Zrinka Cvitesic in Once. I have heard ‘Memphis Lives In Me’ many many times since it was originally let loose on the world, yet Donnelly still manages to dig deeper and bring a tear to my eye and chill to my spine. That soaring note at the climax is possibly the most moving moment in the whole show. I’m sure I speak for the whole audience when I say the standing ovation at the end of the show was mostly for his mesmerising rendition of this modern classic.

Memphis is by no means perfect, but with the stellar choreography and infectious energy, added to first class leading performances, it is definitely worth a watch. Hockadon’t miss it!

Photo credits: Johan Perrson, Pocket Size Theatre