Review: Shrek the Musical, Theatre Royal Drury Lane, Friday 22nd June 7.30pm

If you’re looking for a feel good musical that’s pure smiles and an original score (barring ‘I’m a Believer’ of course) then this is the show for you.

I’ve seen other reviewers say it’s a little too panto but I think that’s okay for a show like this. It’s a fairy tale, essentially – a fairy tale for a modern generation - and since panto is all about the fairy tales too, I think this fits. So, if you hate panto then this isn’t the show for you!

It has the hero in Shrek himself, the ‘damsel in distress’ in Princess Fiona (who turns out to be nothing of the sort), the archetypical panto ‘baddie’ in Farquaad and the side kick in Donkey; All these being staple characters of the pantomime tradition.

As my first introduction into theatre was panto, I was more than happy to get lost in this magical and ridiculously silly world and reconnect with the child who first fell in love with theatre. From the moment the show began and the colourful story book set opened up I had a beaming smile on my face which stayed with me after the curtains fell.

My favourite character had to be Lord Farquaad played by Neil McDermott. Given that this is a role that requires shuffling around on his knees, it was always going to be hilarious. But it’s his facial expressions that really round off the ridiculousness of this character. Every expression is comically exaggerated aided by the absurdly drawn on eyebrows.

Carley Stenson as Princess Fiona was a surprise to me. Anyone who watched Hollyoaks in the last few years will know she played Steph – a character who was very much a wannabe performer who didn’t quite have the skills in singing, dancing or acting. So it came as quite a shock to witness her doing all three to a high standard – particularly the singing which she does beautifully. This can only be a testimony to what a versatile performer she is.  

Dean Chisnall is quite a trooper as Shrek in that rather cumbersome get up – I feel hot just thinking about having to wear all that padding and make up under the lighting but Dean shows no sign of discomfort. He gives a strong and assured performance and is, naturally, the linchpin on which this production balances.

There was one cast member that I felt really let the otherwise strong team down. Richard Blackwood as Donkey. He managed to really capture Donkeys irritating side without adding any of the endearing qualities that Eddie Murphy manages to portray, through voice acting alone, in the films. He also couldn’t really grasp the accent and it ended up just sounding quite grating. I’d have really liked to have seen one of the understudies in this role, which, rather frustratingly, if I’d have gone on the Saturday would have happened.

I was very impressed with the costumes & make up – whether that be creating the wooden puppet look for the actor playing Pinocchio or simply painting on bright and sparkling make up on the witches and fairies.

**Spoiler Alert**

One of my favourite scenic elements happens during a song that I’ve never been particularly fond of from the Original Broadway Cast Recording and that’s ‘The Travel Song’. The scene starts of simply with a rolling painted scene in a pastiche of ‘The Lion King’ behind a sign post in the centre of the stage. Towards the end of the song Shrek & Donkey stand in front of this signpost and it the platform splits and lifts, creating 2 pillars stage left and stage right with a rope bridge stretching between them. It’s still quite a technically simple achievement but it’s visually pleasing and works well.

**End Spoiler**

My very favourite scenic element, though, has to be the dragon puppet. It’s a huge puppet that took four people to manoeuvre and control it. I was quite mesmerised by the lead puppeteer (who, it seems from the programme is the puppet himself – Pinocchio – played by Jonathan Stewart) who has to lead the dragon and control the mouth movement and the blinking. It must have taken some rehearsal to coordinate this scene.

Talking of the dragon’s scene – the song has been changed from the Broadway version. ‘Donkey Pot Pie’ is gone and a song called ‘Forever’ takes its place. ‘Forever’ is a much better song, in my opinion, showing off the singers range and skill. It was difficult to pick up the lyrics, however, as there seemed to be a general problem with sound levels with the orchestra often drowning out the singing.

There’s also been another change to the score – ‘Build a Wall’ has been cut completely which I was quite disappointed about as I like this song but they must have had their reasons and it isn’t really  a song to move the story forward – it’s more about Shrek having a sulk.

I was really looking forward to seeing ‘Freak Flag’ being performed by all the fairy tale characters as this is my favourite song from the soundtrack and they all performed it perfectly. It was so energetic, powerful, bright and colourful. I do wonder if Pinocchio is ever tempted to replace ‘stand up to Farquuad’ with ... ... well I’m sure you can figure that out. If not, click here. I know that’s what I sing when I sing along in the shower.

I also have to mention a nice little touch before the show began. An announcement came over the tannoy in the voice of the Fairy Godmother. She said she has three wishes before the show can begin (1) no photography (2) turn of mobile phones and (this last one I loved) (3) please unwrap any noisy sweets before the show begins. I’ve never heard this asked at another show and yet it’s one of the main pet peeves of theatre goers.  It was such a cleverly non-confrontational way of asking too, which given the nature of this show, could only be done at Shrek the Musical.

While this show may not completely blow you away, it’ll certainly leave you with a huge smile & a feeling of lightness (lightness  from woes, hopefully, not gas - though maybe both if you decide to join in with the fart-off in ‘I Think I’ve Got You Beat’).

Shrek the Musical is currently at the Theatre Royal Drury Lane. Please visit the website http://www.shrekthemusical.co.uk/ for more information & to book tickets. 

Review: Ghost the Musical, Piccadilly Theatre, Saturday 23rd June 7.30pm

I think I may have found a musical to add to the favourites list just as it’s about to leave London. I have to admit I was sceptical at first. Not so much because of the story or the music – I love the film and the music (written by Eurythmics Dave Stewart & six time grammy award winner Glen Ballard) sounded good. Though, I have to say  it wasn't until I saw the show and experienced the emotion of the music first hand that I really appreciated how brilliant the soundtrack is.

The reason I was initially sceptical was because I knew that there was a lot of automation, video and projection used as set and I was worried about a high tech take-over of theatre would ruin the magical atmosphere created by imagination and make it more like the experience of watching a film.

Even as I sat in my seat (row A in the centre – not too shabby for a last minute theatre ticket at half price eh? God bless tkts London) I still felt unsure about it. As the show began, projections played out over the gauze and the large screens moved around into position with the relevant images being thrown across them I could feel the doubt about this show seeping in.

Then I noticed how it all reminded me of Times Square and from there came the quick realisation that actually it has been designed, very cleverly, in this way to convey that bustling, never sleeping, workaholic New York feel. Thinking about the story – how Carls obsession with money and the materialistic costs Sam his life – I realised you can also glean a message from the design about the sensory overstimulation when living somewhere like New York. The constant bombardment of images and sounds creating a materialism and greed that doesn’t consider cost.  A message that can also be taken from the song ‘More’:-

                “We’re just playing a numbers game.
                And every second those numbers change.

                This is what I live to feel

                It’s the beauty of the deal....”

Incidentally, this may be my favourite riff(?) in the show.

Though the main story is certainly about the love between Molly and Sam that survives beyond his death, once I noticed the sub-theme I couldn’t stop picking up on little things.

Such as the choreography. Lots of people seemed to dislike it as it can be quite mechanical and choppy. But I found it really helped set the atmosphere. The movement is also very carefully and cleverly considered, it seems to me - as the office drones the dancer’s movements are mechanical because their lives are mechanical – their lives are about working to achieve the material things they think they need. For the moments when it needed to set the bustling scene of typical New York it was urban, gritty and sexually charged. I loved the moment on the tube where they’re getting thrown about by the subway ghost and they barely even seem to notice. They just sit back down after wards – like they’ve become so jaded by the city that nothing phases them.

So I think it’s really important to acknowledge the creative team on this show, in particular the set designer Rob Howell (who actually won a whatsonstage award for his design for both Ghost and Matilda and an Olivier for Matilda) the choreographer Ashley Wallen and Liam Steel for the Additional Movement Sequences.

On to the cast – there wasn’t a weak link in the lot and I think that’s quite rare in an age where roles are often stunt cast, regardless of talent. They could all sing, act and dance – even if the accents were a little dodgy at times.

Siobhan Dillon as Molly and Mark Evans as Sam, were both as fantastic as I expected them to be and really made me believe in their characters love. 

My  favourites, though, were Andrew Langtree as Carl Bruner and Sharon D Clarke as Oda Mae Brown.

Andrew Langtree portrays the characters dripping corporate sleaziness through demeanour and the way he talks and moves. You can really sense his need to have everything – by whatever means necessary. And who doesn't love a good baddie? 

Sharon D Clarke had the mannerisms of the character we love so much from the film down to perfection. It was as though she has studied Whoopie Goldburg’s portrayal in depth. Perhaps it would have been nice to have a bit of her own interpretation in there too, though?

If you go to see Ghost the Musical for no other reason, though, go for the illusions (created by Paul Kieve). Wow, I was blown away. I’ve studied technical theatre, which to be honest has spoilt the magic of some stage illusions, but the magic was reclaimed in this show. I really couldn’t figure it out. I can guess at some of the elements that made it work (which I won’t theorise about here, as I wouldn’t want to take anything away from a person going to see it for the first time) but how those elements worked to create the ghostly illusions, I just don’t know. For me, this is wonderful. It’s like being a child again and being completely swept away in the magic.

So, go, be swept away in the magic currently happening at the Piccadilly Theatre, before the shows own untimely end in October later this year.


http://www.ghostthemusical.com/home/

West End Live: Relived

Well, what a weekend at West End Live. My legs have only just stopped aching from hours of standing but it was all worth it.

For musical theatre fans everywhere this is an event firmly placed in the theatrical diary. In previous years, I’ve been the one sitting at home wishing I could be there, but this year I decided I HAD to go. So as a first time attendee, my introductory experience of it is quite different from those that have been going since it began.

It started out as a relatively small event in Leicester Square with only 4 shows performing. Skip forward 7 years and it’s become a massive event at Trafalgar Square, with all the musicals that are currently running in the West End having a set (of various lengths – ranging from 5 minutes to 25 minutes) and wonderfully, massive crowds – Trafalgar Square was pretty much full to capacity at the high points of the day.

And it’s not just the die-hard musical fans attending now. Casual theatre goers, tourists and people just looking for an entertaining day out are coming and, consequently discovering shows they may never have otherwise considered going to see, which is great for the future of theatre. Let’s hope that this event is still going strong for many years.

With bigger crowds, however, come worse views so you’d better be prepared to be early if you want to be right at the front. One of the hosts asked someone at the front on Saturday what time they’d got there and they said 5.30am! That’s dedication.

On the Saturday, I attended the signing for ‘The Inbetween Musical’ at the Dress Circle shop before going along to West End Live. Both started at 11am so you can imagine by the time I turned up at Trafalgar Square (just in time for ‘Sweeney Todd’ at 11.45am) I was pretty much on the outskirts and pretty much only had a view of the screen. I was determined to support this wonderful new musical though at the expense of a good view. If you’ve not heard of it, please check out the website:-http://www.theinbetweenmusical.com/

My best view on Saturday
Scott Garnham singing 'Beyond the Door' from
The Inbetween

An hour later I’d made it to a point where I could see tiny dots moving about on stage and I was here for most of the day then, eventually made my way to the front of the fountain by the time The Inbetween did their set.

It’s not just established musicals that get a slot at West End Live but it’s also a showcase for new talent, such as this show (which was well received by the crowd) and for theatre schools such as National Youth Music Theatre, West End Kids and the Mark Jermin Theatre School, all of whom were fantastic and as professional as any of the other shows showcased.

Saturday Highlights

It seemed a lot of the crowd were excited for Chicago with many people around me cheering loudly whenever it was mentioned (and the crowds certainly seemed to thin a bit once it was finished – great for me as it meant inching slightly closer)

For me, though, the highlights were seeing the new cast of Les Miserables singing One Day More together (even if it was only on the screen – if I stood on tiptoe I could just about see the tops of their heads on stage), Jersey Boys and Rock of Ages because they did energetic sets that got the crowd going and, of course, The Inbetween because it was so great to see a new musical being showcased in front of so many people.

Saturday Lowlights

I would have to say Thriller. It seemed to please a lot of people and there was nothing wrong with it, essentially. It just does nothing for me. This is more a matter of personal taste than anything they did wrong. It was one of the longer sets too so that dragged for me, a little.

I was also disappointed that Sweeney Todd and Phantom didn’t do more songs, but I understand that this may be tricky given the dark content of these shows and this being a family friendly event (and the middle of the day).

**Theatre Snobbery Commencing**

I have to mention a comment over heard from two girls standing nearby that just made my heart sink. This conversation happened during I Dreamed a Dream:-

Girl 1: I’ve heard this song before

Girl 2: Yeah, it was in the first season of Glee.

Me: *sigh*

**Theatre Snobbery End**

I decided to leave after The Inbetween’s set on the Saturday to get some food and start getting ready for that evening’s show (Ghost the Musical– review coming later in week, along with a review of Friday night’s show Shrek)

xxxxxxxxxxxxxxx

On Sunday I got to Trafalgar Square by 11am, an hour before it was due to start, and made sure I had food to take in with me this time.

I got much closer to the stage this time, although my view was still pretty obscured given that I’m only 5 foot! If I was just a few inches taller I’d have seen much better. Nature can be so cruel.

But it wasn't so bad, I made it to the front barrier eventually

Sunday Highlights

I haven’t had a chance to see this show yet but Matilda was the highlight for me with Sophia Kiely singing ‘Naughty’ and I intend to book to see this for after the Olympics finishes (because I’m not going anywhere near London during). It’s astonishing the talent some of these kids have and how effortlessly they perform and although I’m not a huge Billy Elliot fan (I say this in ignorance really as I’ve not seen the show) I have to acknowledge Ryan Collinson for his performance of ‘Electricity’ just before the Matilda set.

Quite unexpectedly, I enjoyed Horrible Histories in a really silly, childish way. They did a song about Henry the Eighth being a big fat man, loves to stuff his face from the frying pan and we joined them in a dance to the old divorced, beheaded, died rhyme. It’s obviously aimed at kids and I wouldn’t actually go to this, but if you’re a parent this is a fun way to get them to learn something.

 I also enjoyed seeing some West End performers showcasing some of their own songs from their albums. It’s nice to see what they enjoy singing outside of Musical Theatre. Don’t leave theatre completely, though, please, we’d miss you J

As with the previous day I also felt Jersey Boys and Rock of Ages stood out and was pleased to once again support the Inbetween. I’m sure there’ll be great things in store for this show soon.

Sunday Lowlights

Thriller did another 20 minute set which we’ve already established I wasn’t keen on the first time round and, unsurprisingly, given that I’m not 5 years old ‘Everything’s Rosie’ and ‘Angelina Ballerina the Mousical’ were pretty cringeworthy moments to get through, though I’m sure they were lovely for the little ones and I wouldn’t want to deny them discovering the joys of theatre so this really is nit picking from an entirely selfish stand point.

Also the Big Zumba Dance was a bit of a drag – I don’t know if they noticed but there was hardly room in the crowd to do a two step let alone all the energetic twirling and bouncing they were doing. And there really isn’t any point to Zumba if you’re not joining in, it’s not exactly fun to watch.  

The weather also let us down a couple of times with downpours of rain, but they passed fairly quickly and when the sun was out it was lovely and warm so we dried out quickly. I did feel sorry for people further back when the umbrella canopy came out. They probably couldn’t see a thing. Come on people, we’re British, we can get brave the rain without umbrella’s, can’t we?

The best day, for me, was the Sunday mostly due to having a much better view and being properly in amongst the crowd - the only place to truly soak up the atmosphere. 

This was a wonderful experience that I’m glad I got to share first hand this year and will certainly be going again. The atmosphere of all those people getting together to share the joy of theatre is priceless and, coincidentally so is the fee for entry – it’s absolutely free, so if you missed out this year, make sure you keep the last weekend in June clear next year so you can come along and share in the experience too.

Here are some links to other peoples pictures/blogs and videos­:-


@JedihomerT - http://www.youtube.com/watch?v=JQbhMOQoM44&feature=youtu.be - Ghost
                            https://plus.google.com/photos/111374058545157959810/albums/5757928862290638113 - pics from Saturday

@Steffi_G - http://confessionsofatheatregirl.wordpress.com/2012/06/25/west-end-live-2012/ - blog and beautiful pics from both days.

Broadwayworld.com photo coverage - http://westend.broadwayworld.com/article/Photo-Coverage-WEST-END-LIVE-Part-1-20120626
http://westend.broadwayworld.com/article/Photo-Coverage-WEST-END-LIVE-Part-2-20120626

officiallondontheatre.com photo coverage - http://www.officiallondontheatre.co.uk/news/backstage-pass/article/item145143/gallery-looking-back-on-west-end-live/

The Stage Calls

“Ladies and Gentleman of the cast and crew, this is your beginner’s call. Beginner’s to the stage”

Last Saturday I volunteered my time at one of my occasional backstage stints – this time making sure the singers had their radio mics attached discreetly & comfortably and more importantly ensuring that they were turned ON. With only 3 mics and many cast members I needed to be standing by to coordinate the switch over’s.

After the show the chairman of the company was chatting with me about my Gramps, who he also knows and is the one to blame for introducing me to musical theatre back when my age consisted of single digits. The chairman made the following comment:

“I really admire him, I don’t know how he can love theatre so much and not want to be on the stage. He used to go up to London all the time to see shows and yet he never feels the need to experience the limelight”

Days later, I find myself still contemplating these words. Can you be a musical theatre fan without wanting to be in one? - Whether this is a realised dream or a secret fantasy.

What is it about musical theatre lovers & the need to be part of this world?

Is it the desire to perform that creates a love of musicals or is it a love of musicals that creates the desire to perform?

For me, trying to answer that last one is like trying to decide whether the chicken came before the egg. It seemed to just happen at once.

Thinking back really, really... really far, I’d say it was actually panto that came first. My Gramps started taking me to panto the second I was able to appreciate it... probably before. I suppose it was this that sparked in me a desire - no, a need - to put on painstakingly drawn out and terrible renditions of my own (I thought they were brilliant and inspired at the time, of course) for my weary looking parents (weary and somewhat drunk... they had to be to get through it, to be fair) & the parents of my friends who I’d coerced into taking part.

Even back then, however, I was more into being the production/creative team. And no, I don’t mean part of it – I was the entire production/creative team; I was script writer, director, programme designer, costume & set designer and lighting designer (and by that I mean I stretched & sellotaped quality street wrappers over a torch). I would only take a small role for myself.

That being said I do love singing. It’s mostly loudly in the shower, self consciously in the car or silly singing with my mum and sister (usually les mis, since I know you were wondering).

So does it have to be on stage to get the feeling that the chairman was talking about? I suppose it depends what that ‘feeling’ is. For him, I suppose it’s the exhilaration of sharing his passion with an audience and basking in the warm glow of the adoration in the applause – in this case, it definitely needs to be on stage. For me, it’s the satisfaction of seeing all the elements of show making come together & knowing you had a part in creating this magical world – for this you can be backstage or on stage, in a role big or small.

 Either way, we still feel the need to have a role in it.

Isn’t that what we’re always told, though? – do something that you love. Isn’t it the same for anyone with a passion for something? Or is there something about the magic and escapism of theatre? That we just want to wrap ourselves up in this fantastical bubble and escape from harsh reality into a world of jazz hands and sequins?

“Ladies and Gentleman of the cast and crew. Stand by for curtain call.”

In Focus: Les Miserables Trailer & Upcoming Film Adaptation

I seem to be in the minority here, judging by the excitement on twitter, but I was a little underwhelmed by the trailer for the upcoming Les Miserables movie that was unleashed upon the world on Wednesday of last week. Here it is if it’s somehow passed anyone by, or if you’re just ridiculously excited and want to watch it again:-

It starts with Anne Hathaway singing ‘I Dreamed a Dream’ and the first thing I think is that I’ve seen YouTube clips of amateur singers singing it better. I don’t mean this as harshly as it seems – those amateur singers are technically very good. But that’s just the point. Technically, she’s not very good. She has a sweet voice and it sounds alright but I just don’t think alright is good enough when you’re making a film of this magnitude; A film of a production that means so much to so many. There’s no strength or control to her vocal ability. I suppose you could argue that the character is at a vulnerable point at this stage of the story and that she wouldn’t be strong or in control. This is true, but I don’t think you should dramatise that through singing style. It should be done through acting. I think of some of the Fantine’s I’ve seen in the stage versions   - Ruthie Henshall, Lea Salonga, Caroline Sheen – they prove that  you can still sing strongly and capture the character’s vulnerability and hopelessness.

I feel I have to defend this opinion here after reading the review on www.lastminutetheatretickets.com where Julie Robinson says the following:

“To be frank, people who leave remarks like these are just highlighting the ignorance on their part. Hathaway is an accomplished vocalist who has a very strong voice; a fact she has displayed on numerous occasions.”

When I heard that Hathaway was to play Fantine the first thing I did was find clips of her singing and based on all the evidence  I disagree with the above statement.  I think she’s shown she has a pleasantly sweet singing voice but certainly not strong. For a taste of things to come here’s a link to the clip of Hathaway and Jackman singing together for the Oscars at the 81^st Annual Academy Awards (Hathaway joins in at 4:00)

http://www.youtube.com/watch?v=Terhj8mjPwY 

This leads nicely on to Hugh Jackman as Jean Valjean. There’s not too much given away in the trailer just a few clips of him in character at different stages of the story. I’m quite content with the casting of Jackman in this role. He has a background in Musical Theatre, having started his career in theatre, most notably performing as Curly in ‘Oklahoma’ in the West End in 1998.

I’m trying to keep an open mind about Russell Crowe as Javert. He looks menacing enough and seems to convey that air of over inflated authority that I feel Javert as a character must possess (except where are the trademark sideburns?). I haven’t heard him sing much, so I’m not sure what to expect. Philip Quast is always going to be the perfect Javert in my eyes, which I realise is a bit unfair as that’s a big talent to match.

Samantha Barks, on the other hand, is the perfect Eponine to me and I’m very excited to see her in this film adaptation. She looks exactly as I’d imagine Eponine would look and has the right kind of singing voice. And, of course, she is first and foremost a musical theatre performer so she's flying the flag (literally) for those people who do this night after night and never tire, yet get consigned to extras in the film.

I do realise why the producers do this. It's a bums on seats deal. Big Hollywood names = Bigger audience attraction rate. Whilst this may be annoying, it's a fact of film and I'm not going to get too upset over that. If it means more people will come and see the theatrical version then it's not all bad. 

Eddie Redmayne has been a real surprise. Only when I approached writing up my thoughts of the upcoming film did I do some research into his singing voice and, I have to say, it stopped me in my tracks! I’d never have thought he’d have such a good singing voice whilst watching him crawl through muddy trenches in the gritty BBC adaptation of the Sebastian Faulks novel 'Birdsong' earlier this year. I still don’t think he looks right as Marius but that’s probably been because I’ve seen the likes of Michael Ball and Fra Fee in the role. I’ve come to expect him to be more innocent looking with curly hair. Eddie Redmayne looks harsher, more world weary. After hearing him sing, though, I’m quite looking forward to seeing what he does with this role.

We don’t see Sacha Baron Cohen or Helena Bonham Carter in this trailer (I wonder if double barrel surnames were a requirement of the actors playing these parts) but I’m sure they will be fine in their respective roles - looking at the picture below, it's not at all difficult to imagine them together as the Thenardier's. They are both known for playing comedic yet sinister characters which they both demonstrated in the film adaptation of ‘Sweeney Todd’.  I’d say this is the most important requirement for these characters over vocal ability.

In conclusion, I’m going to keep my expectations low for this film; I would rather it exceeds my expectations than disappoint. Even though there have been plenty of well made film adaptations of musicals, such as Sweeney Todd, Chicago and Rent, I’m still feeling the sting from the disappointing 2006 film adaption of ‘Phantom of the Opera’ which is one of the ultimate musicals, just like Les Miserables and I think that makes it much more of a risk. 

I found this clip on YouTube earlier showcasing each cast members singing voice, so have a listen if you haven’t heard them all already and catch them all at Christmas time, hopefully doing justice to our well loved characters, at a cinema near you:-

note: above video belongs to wolfart2003 on YouTube

Ramin Karimloo’s “Road to Find Out” (St David’s Hall, Cardiff, 26th May)

If there’s one thing you certainly can’t accuse Ramin of it's succumbing to the usual ailments of men and their ‘man flu’. He troupes on through sickness, causing dichotomous feelings for his fans – on the one hand we’re delighted that he’s there, performing for our joy and entertainment and on the other hand we’re concerned that he’s making himself worse by not getting the rest he needs.

However, if you didn’t already know he was sick, there was little to give this away. He made no excuses and just got on with it. There were some tell tale signs, such as the polka dot handkerchief sticking out of his back pocket like Gertrude’s one feathered tail, occasional voice breaks and struggling to hold the note at the end of Music of the Night during the encore. For the most part he performed as perfectly as we’ve come to expect.

Ramin started the show, bouncing out of the side door and, after acknowledging his audience, launched straight into the energetic ‘Show Me Light’. From there we were taken along his “Road to Find Out” – his journey from where he started to where he is now and his influences along the way. As the man himself said ‘it’s all about the journey’.

We were shown his early love of rock music (‘I and Love and You’ by Avett Bros) and he related to us an anecdote about how he used to work as a pot washer in Canada and would listen to Tragically Hip on the radio. I love hearing these little anecdotes as it creates a kind of intimacy between performer and supporter – it allows us an insight outside of his life as a high profile West End performer.

We then travelled through another of his early experiences - going to church - which, he confessed to us, he hated going to, but secretly loved the songs. He then performed one for us with Steve Young and a guest performer (Sean Kingsley – Valjean during Ramin’s time as Enjolras in Les Mis). That song was ‘Closer Walk With Thee’

Photo provided by Sue Cartwright (@stourbridgesue)

We walked down the road sign-posted ‘Musical Theatre’ – an important part of Ramin’s career and an art form that has really raised his profile. Some of the songs included ‘Bring Him Home’ (which I was most relieved was in the line up after missing his Valjean), ‘Oh, What A Beautiful Morning’ and ‘Till I Hear You Sing’ (which he forgot the lyrics to in his trademark way - but all is forgiven when you look upon his perplexed face as he tries to figure out why the next line isn’t quite coming to him). He also tried one from a musical he hasn’t been in, which I think he said was ‘Evita’ (please, correct me if I’m wrong). He had a few false starts with this one, but that’s why we love him – he just has to give a cheeky, humble smile and we all erupt into applause. He has this way of completely putting himself out there  - showing us he’s just like anyone else in his tendency to make mistakes (after all, ‘to err is human’ as another artistic type wrote) and his lack of fear into approaching the unknown by performing a song that he hasn’t finely tuned and rehearsed to death. I don’t think many other performers would be so brave.

Another stop on this journey was his folksy, bluegrass inspired music created for his band “Sheytoons” which he formed with good friend and fellow West End star, Hadley Fraser (who got an appreciative ‘whoop’ from the audience upon mere mention). He performed the song ‘Broken’ and ‘Lonely’ which included beautiful harmonies from Katie Birtell.   

All this topped off with interjections from his most recent self titled album. I was particularly looking forward to hearing him sing ‘Constant Angel’ live as this is my favourite of his own songs. Hearing it live was a moving experience as I find a lot of meaning in this song.

But no journey would be complete without the people who make their imprint on it; Which leads me onto a spotlight on one of his guests:

Photo provided by Sue Cartwright (@stourbridgesue)

The absolutely fabulous Carrie Fletcher. She first sang ‘A Little Fall of Rain’ with Ramin which got a roof lifting applause that lasted a good minute or so. She said on twitter later that she was inundated with people telling her she should play Eponine in Les Mis. So hopefully we'll be seeing more of her in the not too distant future.

You may recognise her as the sister of McFly’s Tom Fletcher, which I only mention as a point of interest. She certainly doesn’t need to use his success as a springboard, she has buckets full of talent all on her own merit. If you’ve yet to hear her sing, please check out the clip below. It’s her cover of Paramore’s ‘The Only Exception’ which is the song she chose to perform at St David’s Hall

There was one other really special guest – Ramin’s son Jaiden Karimloo. He ran down the aisle to join his dad on stage. Ramin played the piano and Jaiden sang the chorus of ‘Hallelujah’. It was such a touching moment and I think even the hardest hearts would melt at the look of pride on Ramin’s face. 

Ramin wrapped things up with ‘Coming Home’ and told people that even though the rule was to not take photo’s he didn’t really mind. This resulted in pretty much everyone getting their phones and cameras out, which Ramin said the following about on twitter:-

BUT we didn’t want him to leave things there. There was a rapturous applause including..... stamping!! I haven’t heard a stamping applause in many, many years. So poor, sick Ramin came back onstage for a few more songs and I’m going to share the vid for the last encore song here, which includes some little unique moments for a Welsh audience. The clip is courtesy of @waggers1245 – follow her on twitter & youtube for lots of West End updates!!

 Just one more thing – I cannot end this post without mentioning the second guitarist (I guess it must be Justin Quinn, looking at the programme). His facial expressions whilst playing were brilliant. I couldn’t stop watching him. He looked so into the music, which is always nice to see. As amusing and hypnotic as this was, it was lovely to see someone with a real passion for what they do.

To wrap up this somewhat lengthy blog post (which I do apologise for, if anyone has managed to make it this far – there’s just so much to say)I’ll leave you with this picture of the back page of the programme. A sentiment we should all take to heart.... and lungs.

The Tall and the Short of it

One thing I’m quite precious over is theatre etiquette!  I believe in dressing smartly (and staying dressed), being quiet during the performance – that means no sweet rustling or chatting, sitting still and not fidgeting.

However, I must confess that on a recent trip to the theatre I broke two of these sacred rules – I took off my shoes and made quite a fuss while trying to put my leg underneath me up on the chair.

Why?! What could possibly be the reason for a self confessed theatre snob to act like such a theatre Neanderthal?

Because of one small fact – I’m short. At 5ft, if I’m sat behind someone who is even average height I struggle to see. If the person in front of me is tall, my view is completely obscured bar a strip of stage on either end. Basically, pretty much wherever I sit, I’m in a restricted view seat; Particularly if the seating is barely raked.

Having paid £65 for my ticket to this show, I wasn’t prepared to miss a second.

So what’s the solution? It would be unfair to tall people to compromise their own enjoyment by expecting them to sit at the back all the time; It’s further away from the stage and you’re less likely to be able to pick up on nuances in expression and performance, which is one of the things many people enjoy and the reason I will pay the higher prices for my tickets.

But then again, it’s unfair of tall people to expect short people to look around them just because of height, which neither of us can do anything about.

When I was a child (and even smaller than I am now) I used to sit on the upturned seat to give me the height boost. Of course, if I did this now, it would boost me too high and the theatregoers behind me would be, rightfully, outraged.

It did give me an idea, though... theatre booster seats. It wouldn’t be overly high, just enough to be the size of any other theatre goer of average height. After typing theatre booster seats into google, to see if such a product already exists, it turns out, it does:-

http://www.dresscircle.co.uk/9632-Product-Toys%20and%20Ornaments-Inflatable%20Theatre%20Booster%20Seat-38207

They are aimed at children, of course. Which is why, perhaps, this isn’t such a good idea. The humiliation of carrying in and inflating a booster seat meant for children. It would look a bit eccentric really.

Which is why I think there should be something more official provided by the theatre. Maybe made from the same (generally red, plush material) as the seating already installed which you can discreetly slide into place. Maybe they could even keep it under the seats so you don’t have to carry it in with you?

Then, my other idea, is a futuristic, high tech, ever so slightly far-fetched one:-

Every seat in the auditorium is electronically controlled by a central computer system with a programme which uses some kind of complex algorithm to analyse audience height and the natural rake of the theatre and then reconfigure the seats to the perfect viewing height to match each individual audience. Obviously you would be required to state your height & the height of everyone in your group when booking tickets....... yeah, I don’t see this happening anytime soon. This may be only slightly more achievable than this bloggers solution:-

http://www.noisemonkey.com/post/20653003701/tomorrows-tech-today-the-audience-height

Made me laugh, anyway.

I’d love to hear other peoples stories of height issues (particularly from a tall persons perspective, actually) or solutions to the problem, no matter how unrealistic.