Wicked Tour Review - Wales Millennium Centre - Monday 14th April

It's been a while since I was last transported to the emerald green world of Oz. 7 years ago I saw it, fresh in the West End when the leading lady was the original, wickedly talented, one and only Adele Dazeem... sorry, Idina Menzel.

I absolutely intended to return to Oz, but somehow never quite made it. There's always so much else I wanted to see, so little time and the consistently high ticket prices played no small part in it.

Instead, Wicked came to me. At first, I was unsure whether to see it; Tickets remained at the London prices but, thanks to a friend, we got hold of incredibly reduced price tickets at the last minute (without the cost of compromising on view! In fact, it was one of the best views I've had at the WMC.)

Today's touring cast includes Nikki Davis-Jones as Elphaba, Emily Tierney as Glinda and Liam Doyle as Fiyero.

Emily Tierney wasn't performing on this occasion, however (the Olivier's had been the night before, so maybe that's why) instead we saw her understudy Carina Gillespie, who slid as easily into the role as if it was always her own. Taking Carina's place as Nessarose was Natasha Ferguson, who seemed a little shaky to begin with but quickly developed into her stride.

Nikki Davies-Jones I last saw as Maureen in Rent, just about a year ago, and I can't help but draw parallels between her character choices and Idina's. She was fabulous in both roles, bringing completely different traits and emotions to each character, showing versatility as an actor. She also gets to do a little more belting in this than Rent, proving she can sing with the best of them as she tirelessly powers through, never faltering. I'm not sure even Idina managed that....

When I saw Liam Doyle's name, at first I wondered where I'd heard it. On reading the programme, it must have been when he appeared in Swansea's pantomime 'Aladdin'

(http://m.youtube.com/watch?autoplay=1&v=cvKTAFhBhno “now in 3d” – wasn’t theatre always in 3d?). Unfortunately, he seems too fond of that over-acted, large gestured, thigh slapping acting style. Yes, you could argue there are elements of panto about Wicked - the lavish costume, the fantastical story, the slapstick moments - but there's a much cleverer story here, it's deeper than panto and needs to be acted as such.

If you watch the above YouTube link, you may also notice another name from the Wicked tour cast list - Zoe George, ensemble member and Elphaba/Nessarose understudy - I'm singling her out from the ensemble as she's a local girl who started here on the amdram circuit - most notably, I recall, in the role of Belle with Cockett Amateur Operatic Society. I'm not Swansea's biggest champion, especially when it comes to culture, but I do think we can boast amateur dramatics of excellent quality to rival professional shows and Zoe is a shining example of this. 

Anyway, this leads me nicely on to the ensemble as a whole, who were so in sync they could have been part of the clockwork of the Time Dragon itself. There’s such slickness to every scene, every movement clicks easily into place, allowing the next to flow seemingly organically. If you study the movements of each individual, however, it's obvious that such attention has gone into the choreography and direction, to create this seamless impression of an ensemble moving as one entity. It's times like this where I feel such massive respect for the ever so hardworking, often underrated ensemble.

Apart from the cast, not much has changed and I mean this well. Often touring versions are watery, essence-of-original offerings but this was exactly as the London version, bringing the same show to people who aren't able to get to the West End.

An all-round enjoyable production that you really don't want to miss (if you can beg, borrow or steal the cash from somewhere to get there **disclaimer - Entr'acte Jac in no way condones stealing**)

Avoid if:- Green is so totally NOT your colour.

Recommended if:- you enjoy clever storytelling alongside the catchy songs and pretty staging.

Wicked is currently defying gravity at Wales Millennium Centre, Cardiff until Saturday 26th April, when it'll get swept away to its next destination, The King's Glasgow. For information about future venues or to book tickets please visit their official website www.wickedtour.co.uk

Side Note

I managed to dig out my old Wicked progamme from 2007, so thought I'd post the picture of the cast page of then and the cast page of now just out of potential intrigue:-

2007 Original London Cast - Idina Menzel as Elphaba; Helen Dallimore as Glinda; Adam Garcia as Fiyero; Miriam Margoyles as Madame Morrible; Nigel Planer as the Wizard; Martin Ball as Dr Dillamond; James Gillan as Boq and Katie Rowley Jones as Nessarose (I do believe she's currently reprising the role in the West End now)

2014 UK Touring Cast - Nikki Davis-Jones as Elphaba; Emily Tierney as Glinda; Liam Doyle as Fiyero; Marilyn Cutts as Madame Morrible; Dale Rapley as the Wizard AND Dr Dillamond; Carina Gillespie as Nessarose and George Ure as Boq 

We Will Rock You @ Dominion Theatre

For a long time I've been dissuaded from seeing this show. A friend had been to see it and told me it was so bad she cried.

I was telling this to another friend over a (fairly average) meal at Jamie Oliver's diner, who seemed surprised as she and her partner had loved it. I grew up listening to Queen's music, so knew I would enjoy that aspect at the very least, and with a vacant Saturday matinee spot, decided to go for it (the ticket being only £36 helped in the persuasion – thanks TKTS London)

Due to avoiding the show, I also had never been inside the Dominion Theatre and what struck me first was how open it was. I imagine that the view is good wherever you sit, due to lack of curvature and pillars. I was in the centre of the right block and still had a great view. As a pernickety seat picker, this venue gets big plus points.

The curtain rose and with the hangover of a long-held scepticism tinted by a new hopeful open-mindedness, 12 years into its West End run, I finally got round to watching 'We Will Rock You'. 

My verdict? I liked it. I liked it in the same way I like ‘Rock of Ages’ – though I think RoA acknowledges the ridiculousness of the story more. As long as you’re willing to throw yourself into that ridiculous story and completely suspend your disbelief, then you’ll enjoy it.

It is, after all, a jukebox musical - the stories are always flimsy threads barely holding the songs together. Though, saying that, I think this is one has actually been fleshed out more than, for example, ‘Mamma Mia’; I’d even go so far as to say I felt moved, at times. Their dystopian world, where individuality has disappeared completely into one mass in a digitised, globalised world – that’s a world which potentially could be our own, eventually. I think you can take a message away from this show.

It’s also incredibly silly and funny too. I laughed out loud a few times. Having seen another of Ben Elton’s theatrical writing attempts in Love Never Dies, I had my reservations. The problem with Love Never Dies had always been the flawed story. In jukebox musicals, however, the whole story is usually flawed from the get go due to having to write a story around already existing music. There is not a microscope on the details; it doesn’t need to be perfect.

For me, the standout performances were Alasdair Harvey as Khashoggi and Rachael Wooding as Scaramouche. I thought Alasdair had complete command of that stage whenever he was on and played the part of a slimy jobsworth entirely convincingly, and Rachael was so spot on with the tone and timing of her sarcastic quips, while still seeming completely adorable.

I love the post apocalyptic feel to the set and costumes. The contrast of the clean, white, sterility of the globalsoft headquarters with the grimy, disintegrating rebels hideout worked effectively. Though, I did feel that the revolving platform in Killer Queen’s scenes was slightly overused. Once was enough.

So, on a superficial level, for an evening (or afternoon) of enjoyment, no more, no less, I really enjoyed this show.

Avoid if:- You’re looking for a strong story with a serious theme. Or, and this should go without saying, if you dislike Queen’s music

Recommended if:- You’re a fan of Queen, looking for some light-hearted fun, enjoy dystopian settings and appreciate funky hair, makeup and costumes

Charlie and the Chocolate Factory at Theatre Royal Drury Lane

In my previous post, I talked about the problem of style over substance being a growing problem in the West End at the moment. I fear that Charlie and the Chocolate factory suffers from this malady. It seems, after the success of Matilda, the fat cats have yelled "This is a money spinner, get more Roald Dahl on the stage". I really didn't want to make a comparison to Matilda, but it now seems inevitable. Where Matilda has heart, Charlie has none. It's a treat to look at, make no mistake but, like chocolate bars themselves, what’s pleasing at the time but leaves me feeling empty afterwards.

This isn't about the story - Roald Dahl was a fantastic storyteller, that's not where the problem lies. It's more like there's a lack of connection to the core of the story. There's emptiness where the heart should be.

I've read interviews with many directors and playwrights, who talk about the process of adapting a story from a book or film into a stage production and the unanimous verdict is, you can't make a carbon copy. That just won't work. You need to find its theatricality, strip the story back to the bare bones and rebuild around its essence in a way that suits the stage.

I don't think that's happened here.

The story revolves around Charlie Bucket and his acquisition of a special golden ticket to get an exclusive tour of Willy Wonka's chocolate factory, granted only to himself and a few other kids - all of whom are larger than life characters. The first act deals with establishing Charlie and his family dynamic, introducing the other children, then finally, right at the end of the first act, Wonka himself is revealed.

The second act is entirely set within the wondrous walls of Willie Wonka's chocolate factory.

And wondrous the sets are, undeniably. Nothing groundbreaking, but a treat to look at; there’s a palpable excitement as we await the revelation of the next impossible room. Gasps of delight can be heard from the younger audience members as the doors of each room are thrown open and they witness the magic inside. That, at least, is something that cannot be scoffed at. How many kids fall completely in love with theatre at those magical moments? For that, shows like this can be commendable.

The second major problem with this show is the new songs - bland and unmemorable. I wonder why they decided to go down this route, when the original songs were so much better? The creators clearly don't have complete confidence in their material, as 'Pure Imagination' still features in the show and is hinted at with the recognisable tinkling of the first few notes every so often, teasing us. The song is strategically saved for the end of the show.

The song I had a real problem with was ‘If Your Mother Were Here’, when the mother and father, each in turn sing about how the other would handle the situation of cheering up Charlie if they were there – the problem is ... they were just there! They’re taking it in turns to be with Charlie, and didn’t manage to do ANY of the things the other is imagining. Maybe that’s the point? you ask – well, it isn’t because they already know the other hasn’t succeeded. It is frustrating in its lack of sense.  Bring back ‘Cheer Up Charlie’. It may have been on the nose, but at least it made sense.

Was this decision to create new songs an artistic one or is this to do with the potential cost of securing the copyright to the entire score? The part of me that's becoming steadily cynical can't help but think the latter.

My favourite thing about this production has to be Douglas Hodge as Willie Wonka and the show improves immensely after his entrance. Shame it’s at the end of Act one. In his garish costume of mismatched colours, that somehow manage to match,  he plays Wonka with the air of scatter brained, eccentric genius perfectly and has a lovely classic musical theatre voice to boot. This voice is best shown off in ‘Pure Imagination’ and the only song of the new material that I liked – ‘It Must Be Believed to Be Seen’. I’d love to hear him sing something with a bit more musical meat that we’re just not served in this show.

The kids in this production, as ever, are also a shining light. Their energy knows no bounds and they're all so in tune with their individual characters, it's impossible to think of them as anyone else. The girl playing Veruca Salt on this occasion (Tia Noakes, I think) was particularly good, right down to the spot-on facial expressions.

I would be remiss in not mentioning Jack Costello, our Charlie for the evening. For one on stage so often, he gave an endlessly focused and controlled performance even when not the focus of the scene.

I don’t want to condemn this musical. There is some theatrical magic on offer here - in the sets, in the individual performances, in the sense of anticipation. If only the magic had made it into the score and, most importantly, the story.

recommended if:- you're looking for a show to entertain rowdy children in an age of many distractions - this will keep them occupied, there's lots to look at and the sense of ‘what will we see next?’ will keep them on the edge of their seat.

avoid if:- you are particularly attached to the film version or want a show with memorable tunes and a strong connection to the story.

For tickets and show information, please visit the official website http://www.charlieandthechocolatefactory.com/

Rock of Ages - Garrick Theatre - 4th Feb

What's going down home readers?

Rock may be dead as far as the charts are concerned, but inside the Garrick theatre it's alive and melting its audiences faces off.

It's strange that it's taken me this long to venture to the Sunset Strip considering my love for both musicals and 80s 'hair metal' or 'glam rock'. To rectify this I put it at the top of my shows to be seen in 2013 list and booked straight away as part of my birthday visit.

On a cold Monday evening in February the theatre was disappointingly empty but that didn't dampen the enthusiasm and spirit of the production. Sitting in my seat there was a sense that I was in a realm somewhere between victorian theatre and sleazy rock venue. Sure enough, I was sitting in the just-this-side-of-comfortable red plush seating with the politely ornate architecture delicately decorating the balconies and pillars. Yet pounding from the speakers was Def Leppard's 'Pour Some Sugar On Me' and headbanging ushers dressed in torn up clothing thrusted bottles of booze in an airpunch to the beat.

In front of me the interior of the Bourbon Room awaits it's occupants.

I'm not sure what the atmosphere of the show was like at its former home, the Shaftesbury Theatre, but I can't help but feel the intimate nature of the Garrick will only enhance the experience as it really does feel like you're there in the Bourbon Room waiting for the gig to begin.

The band walks on stage and kicks up a small offering of 'Welcome to the Jungle' before we are thrown straight into a busy shift at the club.

In this production many of the understudies were on including Tim Driesen as Drew and Cordelia Farnworth as Sherrie, who are the central characters in this story.

There's a lot to be said for the west end's understudies. So often people seem to think they're getting a second rate performance and this just isn't the case. The understudies are well rehearsed, equally talented and, often, better than the main cast (especially where stunt casting is employed). The understudies in this show are shining examples of how great they can be.

Driesen and Farnworth portray their characters with a degree of naivety, open heartedness and vulnerability while still having that steely rockers edge and sing with fantastically strong, unwavering voices.

Leanne Garretty played the feisty Regina in this performance and bounces hilariously off Sandy Moffat's Franz.

I wasn't entirely sure about Tim Howar as Stacee Jaxx but whether this is down to performer or character, I don't know. I watched the film version before seeing the show and I think I'd like to see a portrayal of the character that's somewhere in between these two very different versions. Tom Cruise's Jaxx has far more of the untouchable rock star about him but I like the confused and bewildered characteristic of the stage show incarnation. Perhaps it's Howar himself who doesn't give off that aura of elevated idol - which given that he actually belongs to real life rock band 'Mike and the Mechanics' should come naturally.

The star of the show is undoubtedly the one who, by all other standards, would usually lurk in the shadows of the story - Simon Lipkin as Lonny/Narrator. His camp stage presence has the audience crying with laughter and anxiously awaiting his next appearance. Should the narrator character carry a show this much? in the context of this particular show - without a doubt. He's more than just a narrator, after all, he is a character in his own right with a love story of his own brewing in the sidelines.

The thing I love about Rock of Ages is that it knows that to work well, it can't take itself seriously and it completely embraces this. Chris D'Arienzo has written a book that's so tongue in cheek that it mocks it's own story.

A serious night at the theatre this ain't. It's a rip roaring night of fun and air guitars, so don your big hair wigs, put on lashings of eyeliner, tear up your theatre attire and start headbanging in the aisles - whether you were there in the 80s or not, this show'll transport you straight back to a simpler but by no means quieter time.

If you'd like more information or want to book tickets, please go to the official website www.rockofagesmusical.co.uk 

Sidetrack
While writing this review I got sidetracked by the song 'To Be With You' which had a strange resonance with me. I listened to the original on youtube and still had this weird feeling. Then it hit me - it was a song on one of the first albums I ever owned, 'Now 21' 21 years ago when I was 8! It was, obviously, on cassette and I had listened to it over and over. It just goes to show the power that music holds - so many years later it still managed to evoke a memory of the emotions I felt at the time. Suddenly, this feels like a very long time ago and I feel old - and nostalgic.

A Chorus Line : First Night Previews – 5th February – London Palladium

Having recently attended my very first closing performance, this was another first for me. The first night of previews; a new production, never before seen. It was also my first trip to the Palladium.

Lots of firsts going on there.

After a little trouble finding the theatre, I finally got there 10 mins before the start. No problem, though – it was so packed with people the show went up late anyway by the time everyone had been herded in.

A Chorus Line has the slightly later start time at 7.45pm and I must say this 15 minutes makes all the difference – I much prefer it to a 7.30pm start. It just feels more manageable.

The audience had a much higher percentage of ‘young’ people (20s & 30s) than older people which is quite unusual. I’m not sure if this was because the show appeals to a younger demographic or if it was because there were certainly a lot of performers in the audience supporting their friends (I didn’t recognise any, incidentally, except for a girl who used to be in Hollyoaks).

The best thing about so many performers in the audience? - the atmosphere. I don’t think I’ve ever been part of such a lively audience.

The really unique thing about this musical is the lack of set. It felt quite odd to see such a huge stage so empty and yet this is what the reality of the audition process would be. There is nothing but a wall of mirrors upstage and a white line along the front – the chorus line.

In a musical so lacking the spectacle of effects and technicality, it must go right back to basics – back to what every show should really be about – the story. Each character has their own story to tell; why they’re here, how they got there etc. Such focus on the characters to deliver that story means the actors must have every nuance down to perfection. I don’t think I’ve been to a musical where I’ve listened quite so intently and watched individuals quite so closely.

And I’m happy to say that they all deliver. The performance is incredibly polished and shines under the stage lights. I can’t pick out any one performer in particular because that really isn’t the point of ‘A Chorus Line’. They are all equal – there’s no star because the process isn’t looking for a star. Even at the end of the production there is no build up to any one performer. They all come onto the stage in random order in a line singing the iconic ‘One’.

I will, however, pick my show highlight and that has to be the whole of the ‘Montage’ right in the middle of the show – the pace is good and we learn a little about a lot about all the characters in that 20 minutes or so. I particularly enjoyed Part 4 ‘Gimme the Ball’ where the chorus join Richie’s story in a high energy dance sequence and Part 2 – Diana’s song ‘Nothing’ (mostly because that’s a long time favourite of mine).

In contrast, my other show highlight is the much more subdued contemplation sequence, after the director, Zach, asks them ‘If today were the day you had to stop dancing, how would you feel?’ a question that prompts the chorus line to analyse why they put themselves through it all, leading into the song ‘What I Did for Love’.

Something I didn’t realise before writing this was ‘A Chorus Line’ was inspired by tapes of true stories straight from the actual audition rooms of frustrated dancers. Not taken verbatim, of course but used as a jumping board in the lengthy workshop period that followed. Perhaps that’s why there’s such a ‘real’, sometimes quite dark, sense to it.   

This is a musical that strips away all the modern additions to musicals as we know them nowadays, down to the bare bones, until we’re left with ‘the music & the mirror’ almost literally. If you want to see a show that’s genuinely funny with strong character development and some frantic, high energy dance numbers then this is the one for you.

A Chorus Line officially opens on 19^th February with previews up until that date. To find out more, or book tickets, please visit the official site http://www.achoruslinelondon.com/

Everybody's Doing It.....

.... Talking about Les Miserables & Musicals, that is. It can be a confusing time for a long standing, devout theatre follower. Suddenly, I’m not necessarily the one starting the discussions; Random people are listening to the songs, colleagues are overheard talking animatedly about the merits of vocal ability over acting ability, magazines are jammed packed with photos, quotes and interviews from the movie cast.

And I’m happy, I am. This exposure is brilliant. Ordinary people in their droves will be going to see something other than Viva Forever. Hooray – the West End is saved.

........ But, look! - over there. It lurks in the dark recesses of the mind, the part you occasionally glance directly at but snap away from, it hurts to look there for more than a few seconds. Well, In there lives a frantic eyed gollum-esque version of yourself and this creature is not happy with the current turn of events. He wails in a pained, desperate imitation “Who Am I?”

When your identity is rolled up with your passion, it feels important to have an ownership of it. It feels like you have a right to make a claim for it, run aways with it and hides it. Tell no one else about it. A tendency toward the dramatic also carries a warning of possessive and obsessive behaviour.

Now, it’s taken out of your hands. It’s being divided up and shared around. Your scared and confused – no longer are you an individual with a quirky love of musicals. No. Now you’re part of the crowd.  You’re getting shoved and pushed and crushed by said crowd. But do you leave? No, of course you don’t. Because though it’s part of your identity, it’s not the whole and the reason it became part of you in the first place is through love. So, instead of being the jealous wife of a polygamous husband who shares himself between many, be the loving wife who promotes and nurtures the growth of the family (while also having a few more loves herself). Attendance at shows is what keeps it going, after all.    

Talking of attendance, I’ll be off to see The Hobbit - errr sorry - Les Mis again sometime this week........ because it’s MY precious! 

Phantom 25th Anniversary Tour – Wales Millennium Centre – 10th December

** Warning – This Post Contains Spoilers from start to finish**

Eight months after excitedly purchasing tickets to see my favourite show take on a national tour, the day finally came. I knew the touring version would bring about some changes and I’ve therefore spent the year anxiously avoiding spoilers... with almost 100% success. The only things I’d really caught wind of was the chandelier not falling, which I’d assumed anyway, given the logistical problems and talk of not sitting too near the front due to the high stage which (although implying there was an element of revolve) was welcome information as I’d have been gutted to have waited so long only to have a restricted view.

I sat in the mid stalls at the Wales Millennium Centre, row F in the centre. These were great seats for a good, open view of the entire stage, while also catching acting nuances (though it was more standard definition than high definition from this distance).

It’s an open set as you enter the auditorium, much like the West End production, with the Auction House waiting for its occupants behind a gauze. The main difference is the chandelier doesn’t sit upon the stage ready to be lifted to its majestic resting place high above our heads because it’s already in place, covered in the typical dust sheets.

And it’s the magical disappearance of these dust sheets where we first see illusionist Paul Kieve’s input into this show. I immediately noticed his name in the programme before the show began and was even more excited; If you’ve read my previous blog posts you’ll know I’m a big fan of Paul Kieve’s work - he’s an illusionist at the very top of his game. It’s not that Paul Daniels’s original illusions have been disposed of, as they’re still very effective today – it’s more that they’ve been tweaked to fit in with the tone and capabilities of a touring show. The one that will stick in most people’s mind is the Phantom’s disappearance at the very end – more on that later.

The set is very different to the original – not just to accommodate the many recieving theatres but to give the show a modern, updated feel. Set designer Paul Brown, who once himself worked with the irreplaceable original designer Maria Bjornson, took on the challenge and has created something wonderful for a new age of Phantom. This design focuses more on the backstage areas and the Phantoms labyrinth. I was moved by the beauty of the stagecraft during the ‘Phantom of the Opera’ song as they move from Christine’s dressing room, into the passage behind the mirror, through the catacombs and entering his lair. The journey we see unfolding before us in this production is true to the books description and is mesmerising to watch.

The main set element is a large revolving drum, which during its rotation can change a scene smoothly from Christine’s dressing room, to phantom’s lair to the manager’s office.

The outside of the ‘drum’ creates the gantries/catacombs of the Paris Opera House from which magical stairs appear to allow the Phantom and the object of his obsessions to descend into the mists of the underground lake. As the ‘drum’ rotates to reveal the phantoms lair, candles descend from the skies and float eerily above the scene. Words cannot do justice to the scenic beauty unfolding in this scene.

All this said, It was a little let down by the noticeable lack of the Christine wedding mannequin. She therefore had no sudden shock and no reason to faint, so instead the Phantom just sweeps her up and puts her in the bed – perhaps she is just really tired from her operatic debut, followed by her excitement & exertions visiting the phantoms underground world? Another reason I don’t like this omission is this mannequin highlights the Phantom’s obsessive nature and insanity.

In fact, the down-played insanity of the phantom is the thing I least liked about this tour version. I’m not sure whether this is a directorial decision or if it’s the way that Earl Carpenter plays the character. Perhaps people who’ve seen John Owen Jones in the role could enlighten me to this?

Laurence Connor, the director, has intrigued me with an interesting direction he has taken Christine’s character. In the original, she is often confused, frightened and bereaved but we have never questioned her sanity before. There are a few moments in this production where we see Christine clutching the sides of her head, distressed. Then there is the scene around the piano. As the piano starts playing itself, the stage goes from the normal ‘room’ lighting to an eerie cold wash and all the ensemble turn and point at Christine, singing the phantom’s opera suddenly perfectly where before they struggled. Once it ends they all return to their arguments, as they were, just before it happened. This creates the question in the audience mind – did Christine just imagine that, or was it the phantom’s trickery once again?

Past the Point of No Return has been perfected for this production – I’ve always felt that, despite this being such a passion filled song, the London production has kept this song quite restrained and reserved with just a hint of sensuality but none of the fire I’ve always wanted from it. With this tour, I finally got that version. Christine dances a tango on a long banquet table while the words melt from her mouth, setting alight the phantom’s longing for her and the sexual tension is palpable. This makes the moment she pulls off his mask stand out in more stark contrast as we feel the atmosphere turn from desire turn to disdain.

It’s the last 20 minutes of the show that really has people on the edge of their seats, however. For all the fidgeting, coughing and singing along(!) that had been occurring throughout, there was an absolute hush that fell over the auditorium from the moment the phantoms mask is torn off by Christine to the moment Meg holds it up into a beam of light at the end. This is where the three main characters release all the emotion & energy that has been building throughout into the dramatic finale and Earl’s portrayal of the broken man that the phantom has become is simply heartwrenching.

There is a new disappearing trick from the phantom in the last few moments of the show. Instead of Meg walking into an already abandoned lair, she walks in with the phantom still there. He is quickly surrounded by the guards and you wonder how he will possibly get away – but get away he does in a breathtaking illusion; the audience gasps were audible from all around.

The trio of performers at the heart of this production were superb and have all put their own stamp on the characters.

Earl Carpenter’s Phantom is a pitiful creature indeed... but insane? It’s hard to tell. The trademarks of his insanity from the original production – the awkward hand movements, for example – didn’t make an appearance. I miss the old school completely insane phantom’s of olde, a la Peter Karrie. And I can’t help but wonder if this is to play on the more romantic side of the story that Lloyd Webber seems to favour these days, seemingly forgetting it’s as much a story about a tortured, deformed man driven insane from a lifetime of isolation and being shunned by the world.

I also felt he occasionally stumbled over words, as though he was rushing to fit them into the sentence. Perhaps this was a character choice to portray the phantoms frenetic, chaotic mind or perhaps he really was struggling to fit the words in due to a faster paced tempo?

Katie Hall is exceptional in the role of Christine. I really enjoyed this take on the character – she seems more passionate, more in touch with her sensuality while retaining that naivety essential for her to be led by both the mysterious charms of the phantom and the confident assurance of Raoul.

Raoul was played by Simon Bailey in a way that showed his over confidence that borders on arrogance without letting it consume the character, like it did in the Royal Albert Hall concert version (which I suspect has something to do with Love Never Dies). This is important. Raoul still needs to be likeable, in my opinion. He has always been overbearing and a little controlling but he is not the monster. We should expect Christine to want to choose him. Simon’s portrayal was of a self assured man who loves and wants to protect Christine, as it should be.

I wasn’t too keen on the casting for the managers, or for Piangi. In fact, it wasn’t until toward the end of the first act that I even noticed Piangi, which isn’t right. Piangi is the leading male in the Opera Populaire and should be an overbearing presence, only eclipsed by La Carlotta. I also couldn’t help feeling that the general look Monsieur Firmin was given was rather more fitting of a certain wizard who lives at the end of a yellow brick road! This recurring thought was quite distracting.

My verdict? – This is a beautifully staged reimagining of the brilliant original, exploring some new avenues and modernising the classic for a new generation of Phantom Phans. For me, however, the London production has been dubbed ‘The Brilliant Original’ for a reason. There is something about sitting in the intimacy of Her Majesty’s Theatre with its living room like auditorium and its the old stagecraft still wowing audiences every night that really bolsters the magic and atmosphere. For this reason, nothing will ever replace the original production in my heart.

Phantom of the Opera will be at the Wales Millennium Centre until the 12^th of January, after which it will move on to Southampton. Don’t hesitate to book as there is limited seating available.

John Owen Jones Unmasked Live at Swansea Grand Theatre (Saturday 17th November)

It was quite a strange feeling having a big musical theatre performer choose my local theatre as the venue to showcase songs from his albums. In the weeks leading up to the show, there was a buzz from people all over the uk on twitter and for once I didn’t need to get train tickets or book a hotel or do the dreaded packing as I was already here.

As someone who is often at the Grand Theatre (in fact I’m there this week as stage crew for Abbey Player’s Sound of Music) I can tell you that I haven’t experienced an atmosphere here quite as electric as it was for John Owen Jones. The audience were made up of many familiar local faces, some familiar twitter faces (such as his biggest fans – the Archer family) and coach loads of completely unfamiliar faces. 

The reason he chose Swansea is, of course, because he hails from a nearby town called Burry Port. This meant that all his family could attend, most of whom sat in one of the boxes on the left (or, to use the correct jargon, stage right... the stagey part of me won’t let that go).

This made for a few special moments, most prominently when he dedicated the song ‘New Words’ from his self-titled album to his son, at the end of which I could see his wife wiping away a tear or two.

He opened the show with his powerful version of ‘Thunderball’ from his most recent album ‘Unmasked’ then took us through the back catalogue of songs from both this album and his previous self-titled one.

John Owen Jones didn’t spend the evening alone on that stage, however. He was accompanied by a large orchestra who sat on stage with him and produced a beautiful wall of sound for his powerful vocals.

He’d also invited along some special guests including one of his Christine’s, the beautiful, talented soprano Katy Treharne who soared through a rendition of ‘Think of Me’ and dueted with Mr Owen Jones singing ‘All I Ask of You’ (during which John Owen Jones made an “on purpose” mistake.... to check we were listening properly, of course).

His next guest was a young boy called Jack Sullivan who toured with Oliver! last year and the beginning of this year and treated us to a performance of  ‘Where is Love’ from the aforementioned musical as well as an Eva Cassidy style version of ‘Somewhere Over the Rainbow’. You can also catch him singing again with John Owen Jones next week in Edinburgh at The Usher Hall.

The last guest was the real surprise as he wasn’t even listed in the programme. This is a man who can challenge John Owen Jones for the crown of king of the Phantom’s, having been described as the definitive Phantom and clocking up an impressive 2750 performances. The final guest was the one and only Peter Karrie. It was a real treat hearing the pair do a specially arranged duet of ‘Music of the Night’. To see my Gramps’ face light up when Karrie came on stage was worth so much more than the price of the tickets (don’t worry, this is just a rare soppy moment and it won’t happen again.... probably).  

Owen Jones left till last his two ‘most requested’ songs, both of which follow a similar theme and run nicely into one another. First the very moving, poignant ‘Tell My Father’ from a musical I’d never heard of called ‘Civil War’ by Frank Wildhorn (whose shows ‘Jekyll and Hyde’ and ‘Scarlett Pimpernel’ you might know) and ending with a song from one of the most loved musicals that he owes a lot to – that is, of course, ‘Bring Him Home’ from Les Miserables.

It wasn’t just an evening of serious songs though. A couple of comedy songs were thrown in, including a song where John Owen Jones called two audience members to the stage and had them blow raspberrys at various intervals, then asked all the audience members to join in.

Another was a song he claimed he’d never been able to get right and that the MD, John Quirk, had bet him £50 he couldn’t do. It was a song written to Chopin’s Minute Waltz (I think – please correct me if that’s wrong) which got a little faster each time it was played. By the end the lyrics were little more than a blur – very amusing yet impressive all at once.

There was good banter between John Owen Jones and John Quirk – you can tell that they get on really well and are friends as well as colleagues and there was even a nice moment where Quirk sang the harmony for a song the Owen Jones really wanted to do, but couldn’t have otherwise (I’m not going to tell you what the song was, though..... because I can’t remember, not because I’m mean)

At the end, John Owen Jones did a signing and luckily I was quite near the front of the queue and didn’t have to wait too long. As the queue was so long, however, we were rushed through a little.

It was a very enjoyable evening with a fantastic atmosphere full of people who were all there to celebrate John Owen Jones’s voice. If he tours this show, I feel it could use a little polishing as some bits seemed a little clunky and disjointed and he could, perhaps, have thrown in some more anecdotes as these are what make an audience warm to a performer. Overall, though, I had a really good time and my grandparents seemed to really enjoy it too.  

Saying Goodbye to Ghost: The Final Performance

I wasn’t really sure what to expect of a closing night of a west end performance as I'd never been to one before. Part of me wondered whether it would be full of over the top sentiments being shared amongst die hard fanatics and usually professional performers weeping uncontrollably.

I’m happy to say this ridiculously farcical scenario that I’d concocted was just that – a concoction. What I got instead was an atmosphere of an audience united in a joy and admiration of a musical that, sadly, hadn’t pulled in the audience numbers it deserved and performers who channelled all that emotional energy into well honed performances, heightened by the occasion.

As the wall of sound that is the overture began, the air was electric and the cheers raucous. I won’t do a review of the show in general as I already reviewed it in June – if you’d like to read the full review please click here. Instead I’ll just pick up on a few things.

The audience appreciation of Sharon D Clarke made her, evidently, the favourite. There were cheers after not just every musical number she performed but every scene! There’s a lot of love for this actress and there’s no doubt about why - Her voice is phenomenal and her comic timing perfect to the beat.

There was a heavy poignancy when the heartbroken Molly sings – ‘When it’s over it’s over, I have to let go’ considering the meaning this has not only to the story but for the show itself.

The ensemble were really given a chance to let go and enjoy performing together one last time during the upbeat song ‘Talking ‘Bout a Miracle’ and they threw all that last night adrenaline into it. Particularly Ashley Knight who plays the tap-dancing hospital ghost; you could really see the genuine smile of pride as he danced with his fellow cast members one last time. It was a smile of pure contentment within that moment.  

As we reached the climax of the show, already emotional for its content, I hear sobs all around. I’m not much of a crier in public - I prefer to hold it in till my throat gets all tight and I get a headache - but when Sam says “It’s amazing, Molly. The love inside, you take it with you”... that really gets me. I think it would for anyone who’s ever lost somebody. I’m listening to it now as I write this and it’s set me off again!

Then the tears rolled again during the final curtain call in reaction to seeing Mark’s eyes shiny with the threat of tears followed closely by Siobhan no longer being able to hold back. I find it so touching that these companies form such close bonds that it’s really like the separating of a family.

  

Photos courtesy of Lee Barfield @barfieldsrcool 

Photo courtesy of Lee Barfield@barfieldsrcool 

To mark the ending of the show the director, Matthew Warchus, came on stage to give a small speech and offer his thanks to the cast and crew. He talked about the process of putting the show together and the demanding nature of the technical aspects, upon which he brought out Rob Howell, the designer and Paul Kieve, the illusionist (they are the guys dressed in jeans & black tops in the photo on the left - I couldn't get over how ordinarily such creative geniuses dress). If you were at the show then I was the one whooping madly for them. Having studied technical theatre I have a real admiration and respect for these two. You’ll find their names credited to many shows, so keep an eye out.

 Warchus words culminated with the following sentiment:-

“I hope this doesn’t sound big headed but I think this really is the west ends loss”

Sad times - Flight cases taking away
bits of the Ghost Set

Photo courtesy of Lee Barfield
 @barfieldsrcool 

And though I don’t mean to judge prematurely ... I can’t help but fervently agree as the Spice Girls jukebox musical, Viva Forever, waits in the wings to take over at the Piccadilly Theatre next month.

If we can take positivity from this, however, it’s that a tour is definitely in store starting next spring bringing this fantastic musical to a wide range of new people all across the country.  I just really hope it doesn’t lose any of its punchy impact during the scaling down.

There's not a lot of information on the internet as of yet regarding the tour but  like their facebook page http://www.facebook.com/GhostOnTour or if you don't have facebook keep an eye on the website http://www.ghostthemusical.com/home/

If you haven’t read it yet, also check out Mark Evans’s last blog as part of Ghost http://markevansonline.blogspot.co.uk/2012/10/blog-115-farewell-sam-wheat.html

Keep Believing

Chicago Tour Review: Wales Millennium Centre, Saturday 14th July 8.30pm

I have to admit that I’ve never been too fussed to see the stage production of ‘Chicago’. I loved the film but hearing other theatre goers report back that the film version is superior I was dissuaded. I thought if everyone is saying it, surely it must be disappointing – the people saying this were theatre fans and not the kind of people to usually rate film over live performance.

But since the tour was coming to Cardiff, near to where I live, and my sister said this was one she’d really like to see I decided to buy tickets for my sister, my mum and myself. They enjoy theatre but aren’t fanatical about it like me.

For once I had tickets in the circle, rather than the stalls. I booked quite late and, since this is a show that appeals to many, tickets were few. However, I think the circle is a good choice for a show of this nature – a show that focuses strongly on the dance aspect over any other. Having an overview in this circumstance is more important than being seated in a position where you get a good perspective of acting.

When you enter the auditorium there is simply a chair set on stage downstage right with a hat a top it lit with a spot. The rest of the stage is in darkness.

As the show begins you are presented with the set which remains a consistent from start to finish. It’s a rather stage dominating construction – a cutaway of a jazz club upon which are seated the actual orchestra for the show. Yes, the orchestra are on stage for the whole performance (I’d already heard this before, though I hadn’t realised just how much of the stage they dominated). This leaves a very narrow playing area downstage. There is a little corridor of space either side of the set but this is mainly used as a seating area for chorus when they are not needed in a particular song.

This all has its purpose of course. The idea is to create the feel that we are watching a performance in one of the old jazz clubs. Chicago is presented as a city obsessed with ‘sex, jazz and liquor’ and all the characters are so seduced by this lifestyle that they play out the stories of their lives in this way.

           “in this town, murder is a form of entertainment”.

The problem with this set up is it can feel quite bland at times – especially in the more intimate numbers. They’ve tried to create some sense of location through lighting, such as jail cell bars lit on the floor for the prison scenes but this left me a bit cold.

It’s the dancing that is the key standout feature of ‘Chicago’. This is no real revelation as Fosse is always centred on dance but it really is this that Chicago’s strength rides upon.  (Well, that and the fact it’s notorious for stunt casting. Meeeeow)

So onto the principle performances:-

Weak generally – none of them really blew me away.

Ali Bastian’s portrayal of Roxie Hart was lacking – the singing was weak, the dancing – just okay. And perhaps this could have been forgiven if she’d delivered a convincing character but I really wasn’t feeling it. When I then looked in the programme at the interval to read more about her background and noticed she’d played Becca Dean in Hollyoaks, I couldn’t help but spend the rest of the performance comparing her to her Hollyoaks colleague, Carley Stenson, who’s fresh in my memory from seeing her in Shrek recently.

Tupele Dorgu delivered a decent performance of Velma Kelly. Again, her singing wasn’t very strong but the tone was pleasant and she portrayed the character’s single minded hardness and lust for the Chicago lifestyle to a good standard. It says in the programme that she’s “delighted to be playing Velma Kelly, a role she’s always wanted to play” and I think this shows – she seems to have worked hard to get the character right.

The best of the leads, though, was Stefan Booth as Billy Flynn. Although not a skilled singer either, he has the charisma and stage presence one would expect of this character. Towards the end of the show his voice did start to suffer, though – it sounded like he really needed to cough, which then made me want to cough (because I’m sooo empathetic). This makes me concerned about his stamina and ability to keep up the same level of performance for the rest of his stint on the tour.  

Bernie Nolan was as to be expected as Mama Morton – good singing but lacking any real character and I felt that since Amos doesn’t do a lot of dancing that he should at least be a great singer – unfortunately that wasn’t the case with Jamie Baughan who was acceptable but I just didn’t warm to his Amos – and that’s the one character you should be able to warm to.

The chorus were the stars of this show, though, and I’m pleased they were each individually acknowledged at the bows.

My favourite scenes were the ones which made use of these outstanding dancers, especially during the Billy Flynn scenes.  ‘All I Care About is Love’ was one of my favourites with the girls carrying large white tail like feathers which caught the light beautifully as they twirled them around Billy Flynn.

‘We Both Reached for the Gun’ was also brilliantly choreographed and the scene I’d been looking forward to most of all for that famous ‘puppet act’ which was done perfectly by all, credit where it’s due.

‘Razzle Dazzle’ was another highlight with most of the technical budget being thrown into this. It was the most exciting visually, with a lighting baton being lowered from the flys to the floor, uplighting some of the chorus members and ‘razzle dazzling’ us as they shake their tinsel pompoms which sparkle as they catch the light, then raining down little pieces of ‘razzle dazzle’ during a pyro effect, leaving the stage glittering for the rest of the show.

I also really liked the ridiculousness of the re-enactment of Fred Casley’s murder; Very in tradition with the old vaudeville performances with the overacting and exaggerated movements. It reminded me of an episode of Family Guy where they mock William Shatner’s acting.

This is one of those incredibly rare occasions where I would have to agree with the majority and say the film incarnation of ‘Chicago’ is superior to the stage version. I like the fact that in the film there is actually a substantial story playing out in real life around Roxie’s jazz obsessed delusions, rather than just feeling like we’re watching a story within a vaudeville performance. Although the latter may have been the original vision for Chicago, I do prefer a strong, concrete storyline in my musicals.

Chicago is continuing to tour around the UK until the end of the year. Please check their website http://www.chicagothemusical.co.uk/uktour.php for venues near you, more information & to book tickets.