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

Singin' in the Rain UK Tour @ Wales Millennium Centre

This isn't a show I know a lot about. I have seen the film once or twice, but never from start to finish. I was keen to see this production because of the positive reviews I'd heard from theatre goers and critics alike. The bright yellow logo always caught my eye at its prominent position at the Palace Theatre in London and I knew I wanted to see it in 2013. Then the announcement came that it was closing and consequently I wouldn't have an opportunity to see it.

Another 2 announcements followed.

One was that the am-dram company I work with would be doing Singin' in the Rain next year and the other was that the London show was going on tour and coming to Cardiff.

I had to see it. 

As someone seeing this pretty much for the first time, this'll be comparison free of both the film and the London show.

Sitting in the upper circle was a pretty good choice, I think (not to mention significantly cheaper). Being predominantly dance, often the best place to see it is from above to experience the impact of the more bustling dance scenes.

As usual the stunt casting of Faye Tozer, previously of the pop group Steps, made me groan and I was surprised that, of all the roles, she was playing Lina Lamont - much more of a comedy role focussing on acting and dancing, certainly not on singing. But I was pleasantly surprised. Her accent was perfectly annoying and didn't waver once, she played the comedy easily and was entirely believable as this talentless, floundering victim of the silent era (though this is clearly not a reflection of her own skills)

Matthew Malthouse was on for Don Blackwood during this performance. He is well rehearsed and comfortable in the role being an alternate, rather than an understudy. However he did sound rather out of breath toward the end of the title song. We'll forgive him that, though, given this is a solo dance in a stage saturated with water with more pouring from the flies.

It was clear that this was the scene most people were waiting for. The general audience perked up in their chairs, leaning forward over the balcony to see the front row of people getting sprayed with water being kicked from the stage. It was a special theatrical moment.

I can't help but feel, though, that because many people wanted especially to see this moment, they weren't too focussed on the rest of the show; a gripe I often have with Wales Millennium Centre in particular - the quieter, dialogue scenes get lost in audience chatter. Not a fault of the show, obviously, nor even of the venue. I just mention it because I find it bewildering. Don't they want to know the story? And, even if they already know it, don't they want to see all of this interpretation? Why spend all that money, if you're going to talk? *shrugs*

Anyway, on with the show....review.

Stephane Anelli was outstanding as Cosmo Brown; A character whose star doesn't shine as brightly as it should. Cosmo is talented but lives in the shadows, shining other people’s stars. The talent clearly comes naturally to Anelli, who unlike his character, shines as outrightly as co-star Malthouse – I’d even go so far as to say outshines. My friend pointed out that there was a slight lack of synchronisation between them, though, which may be due to the fact Malthouse is the alternate, or perhaps because Gene Kelly and Donald O'Connor were so close in real life it transferred naturally to screen and cannot be replicated (ok, there's one comparison, but that's because my friend is a big fan of the film and voiced the observation).

Amy Ellen Richardson plays Kathy and managed to silence the audience as she sang her rendition of ‘Lucky Star’ In her beautiful voice - that says more than my words can.

I also have to mention Maxwell Caulfield, who played the producer R F Simpson – not a major role but I was excited to see him in this, having been a big fan of Grease 2 (people hated it, but I saw something in its cheesy terribleness)

Highlights of the show for me were, naturally, the ‘Singin’ in the Rain scene’ (particularly at the end when the whole company joins in), ‘Good Morning’ - the number which allows the 3 leads to bounce off each other and the dance number at the beginning of the second act - a visual treat from the circle. The most surprising highlight, however, was Faye Tozer's number ‘what's wrong with me’ which, in good humour, was sung terribly but performed wonderfully.

The story won’t blow you away but with the catchy tunes and the mesmerising dance scenes, you’ll be tapping and humming your way home.

Singin' in the Rain is currently touring the UK and will be heading next to Sunderland. Make sure you catch it. 

Goals, Resolutions and Shows to See 2014

I like goals and targets. It helps me get on with things. I embrace the January tradition of resolutions and start off the year with vigour and positive energy. That’s how I start, anyway. Then, as the year progresses and change isn’t eagerly knocking on the door, I generally become more disheartened, lose the positivity and forget the goals. I don’t want that to happen this year - maybe one of my resolutions should be to review and rewrite my goals list half way through the year.

My main two goals this year are:-

1.       Get a new job - break out of the comfort rut and go for jobs that inspire and excite me. Hopefully in theatre.

2.      Go to New York, dammit - been a dream all my life and it's time.

This year is a big one for me. I wasn't going to admit it publicly - or to myself, for that matter - but I'm turning 30 this year (a hazy vision of Joey in friends crying out "why god why? we had a deal" plays before my eyes). I will be resetting my age to 25 in my mind ... I could pass for 25.

When milestones approach, it makes you reflect on where you're at, where you've been and where you're going. More often than not, it's not exactly all you dreamt it would be and, if not, the important question is - what can I do to change it? I'm asking myself that now.

And, so, with that in mind, with all my new year enthusiasm, I resolve to...

3. Take more risks - comfort can be... well, addictively comfortable but eventually you realise you're stagnating and it can turn uncomfortable very quickly.

Already I'm all set to join a tap dancing class on Thursday and looking into joining a show choir to focus my energy into my passion. 

Another 2 resolutions:-

4. Turn off the tv - I'm not saying I'm not going to watch any tv at all. I think that's unrealistic and actually unnecessary; There's a lot of great, well written, thought provoking stuff out there. What I mean by this is, don't sit slouched in front of it, mindlessly flicking through channels, watching endless reruns of 'Come Dine With Me'.... Admit it, you've done it. How much time have I wasted in this way?

5. Drink More Water - I'm terrible for choosing coffee/hot chocolate over water. This month I'm taking part in a water drinking challenge with a work colleague. I'm aiming to drink 2 litres of water every day. So far, it's going well, but I need to pee ALL THE TIME.

Shows to See

Since I would like to go to New York this year, I don't want to put too many West End shows on the 'to see' list. I need to save money and spend it all (and more, most likely) on Broadway. There are, however, two that I really want to catch:-

1.    The revival of Miss Saigon

2.    I Can't Sing - I'm impressed by the standard of the cast and liked what I saw on the Royal Variety performance

I'd also really like to see Phantom again this year because I hear such fantastic things about Geronimo Rauch's performance and I'd also like to see Carrie Fletcher as Eponine in Les Mis. 

I'm not sure how much of this I'll stick to or whether I'll be able to restrain myself from many London visits in favour of the bigger NY picture. Who knows. At least this gives me a starting point.... 

Book of Mormon @ Prince of Wales Theatre, 8th November

Every so often a show comes along in a whirlwind of media attention and hype and, I'm not going to lie, I'm pretty good at getting in its path and being swept away.

I give you "The Book of Mormon"

With excitement I booked my tickets soon after it opened, but being a self-confessed pernickety theatre-goer, I'm quite particular over where I like to be sat. To have, what I consider, "good" seats I would have to wait 6 months.

So the impatient wait began. I listened to the soundtrack almost every day. I was already in love.

People do ask if I think it spoils the experience, listening to the songs before seeing the show and so often. To be honest, I didn't even consider that - I was too anxious to be part of the whirlwind. Besides, I listened to Phantom of the Opera and Les Miserables for years before seeing them for the first time and I was absolutely blown away when I did see them on stage - if I hadn't been, theatre wouldn't be as central to my life as it is now.

My point is, that I built it up a lot. Half my year was building towards this. This is a show that appealed to my (non theatre loving) friends too, so having them come along made me feel the pressure - what if they'd spent all that money (the tickets aren't cheap!) and didn't like it.

It was, therefore, with a nervous excitement that I entered the auditorium of the Prince of Wales Theatre. We were sitting in the second row, just off centre. I had been panicking that these seats may be too close and how it would affect sight-lines (I had a bad experience in the front row for Love Never Dies at the Adelphi - the stage was very high and I am very short). Rest assured, these are great seats. The stage is low enough to not have the actors cut off at the waist - or disappear entirely upstage and you almost feel part of the show being spitting distance from the stage - literally. Take umbrellas.

Whenever I try to explain the concept of The Book of Mormon to... well... anyone, it's really quite challenging. Here's how the conversation tends to go:-

Generic person: What are you going to see this time, then?

Me: Book of Mormon

Gene: Oh. (sceptically) A show based on the Book of Mormon?

Me: No, not the actual Book of Mormon -  it's about Mormon missionaries in Africa. It's a lovingly mocking, shocking, controversial, heartwarming, fuzzy, feel good show

Gene: (raised eyebrow and doubtful look)

Me: You know what, you just have to see it to understand

This is pretty much how I feel about writing this now. You just have to see it. There's nothing I can say that'll convince you without, at worst, spoiling anything or, at best, give the magnificence of it a dull sheen.

What I will say was that I smiled and laughed throughout the entire show, to a point where my cheeks were aching by the interval.

The show is the brain child of South Park creators Trey Parker and Matt Stone but also, someone who many people forget to accredit, Robert Lopez - the creator of the similarly controversial Avenue Q.

   

It's not all about shocks and laughs though. There is a strong message, that is actually pro-faith, whatever your faith may be and there is real heart to the show that leaves you with that tingly uplifted feeling.

I'm going to steal a quote from Rory O'Malley, the original broadway Elder McKinley, here. He said in an interview "The real shocking thing about the show is the heart"  - nail on the head. I was expecting the crudeness and controversial statements - we've all seen South Park. What I didn't expect was to be so moved by the story.

I attribute this mostly to one character - Elder Cunningham. To me, his character is the heart of the show. He has this childlike wonder and enthusiasm which makes you forgive his naivety and ignorance in the same way you would of a 5 year old.

Jared Gertner plays Arnold Cunningham expertly. He has balanced the irritating, clingy side of his character with the sweet, loveable side to the right degree. He's the stereotypical nerdy misfit whose quirks and imagination carve a place for him within the African community.

But Cunningham's character wouldn't work without the opposing force of Elder Price. Described as the 'poster boy' for Mormonism - wildly dedicated to his faith with a burning ambition to share it with the world. Gavin Creel looks the part - tall and athletic contrasted with Cunningham's short, rotund frame - and also plays Price as the perfect contrast to his missionary partner; rigid, focused and serious. 

Stephen Ashfield's Elder McKinley's massive, continuous cheesy smile alone has me laughing. It epitomises his character.

Alexia Khadime's Nabulungi is naively accepting and sweet - this role seems a much more comfortable fit than when I saw her in Les Mis as Eponine, which then left me underwhelmed. I eat my previous words here - in this show, she is fantastic.

Chris Jarman as the General was genuinely intimidating - his scene with Elder Price toward the end has me equally squirming and laughing.

I could mention every single member of the cast here to be honest - from the leads to ensemble - everyone has found the 'heart' of their individual character.

In the current, rather bland landscape of the West End, with it's jukebox musicals and safe revivals, this is a risky, refreshing beacon of an original, new musical and gives me hope for the future of theatre.

I love it. Everyone I know who has seen it loves it. You will too. Book Now!

The Book of Mormon is currently showing at the Prince of Wales Theatre and booking until April 2014 (though, I'm confident this will be extended). Ticket prices are extortionately high, but if there's any show that's worth it, this is the one. I urge you to see it while Jared Gertner and Gavin Creel are still performing in it, too. 

Official Book of Mormon Website:

 http://bookofmormonlondon.com/home.php

Official BoM Facebook:

https://www.facebook.com/thebookofmormonwestend

Official BoM Twitter:

@bookofmormonldn

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/

Once at the Phoenix Theatre

Once intrigued me from the moment I became aware of it. There seemed to be a big, loud buzz about a show that was small, quiet and simple. Completely different from anything the musical theatre world has seen before, it seemed just the tonic for an industry that seems to be suffering from a disease of style over substance. 

I thought this gentle show would be a perfect choice for my Thursday matinee.

This was my first visit to the Phoenix Theatre. It's an intimate space and reminds me of the Garrick, right down to the soft, intermittent rumbling of the northern line tube running beneath.

The auditorium is alive with the sound of music as soon as I step through the doors, 15 minutes before the scheduled start time. Several audience members sit in the midst of an Irish pub set, among whirling violinists, strumming guitarists and percussionist drumming away on the side of wooden boxes. Drinks are being served at the bar onstage. Straight away we are transported to a typical Dublin pub and made to feel like welcome patrons. 

The jovial, bustling pub seamlessly blends into the beginning of the show proper with a slow dim of the house lights as guy takes the stand and throws himself into his first, heartfelt song 'Leave'.

The story, adapted for stage by irish playwright Enda Walsh, revolves around two people who randomly meet. We never know their names. They are known simply as 'Guy' and 'Girl'. Guys life has come to a halt, he's in a rut and just about ready to give up on music. Then Girl breezes into his life and turns it all around in a matter of days. They develop a quick, strong connection through music and this is the real locus of the story - in the words of Markéta Irglová:- "you can be a total stranger to somebody, and they can be a stranger to you, and yet when you start playing music together... there's something that happens where it's almost like your souls merge"

The songs in the show are all written by songwriting duo Glen Hansard and Markéta Irglová. Hansard, like Guy, is Irish and Irglova, like Girl, is a czech native and this show was born out of their shared experience of creating music. The result of their combined input is a folksy/indie kind of  music, reminiscent of Mumford and Sons, that cuts straight to the heart and soul without any grandeur. The complete antithesis of the stereotypical idea of showtunes. 

There are no set changes during this performance. To match the simplicity of the story the designers were keen to keep the set understated. The different locales are implied by the placement of the pub chairs & tables and through Natasha Katz's lighting design. The placement of a mirror over the bar is a really nice touch, allowing us to see angles that would otherwise be denied - watching Girl's hands play the notes of the piano feels like we've been permitted special access into a personal moment. 

From the moment Declan Bennett sets foot on stage, in the role of Guy, he gives off an intense, melancholy presence but a presence that certainly dominates the stage in an understated way.

It's impossible to dislike Girl, as portrayed by Zrinka Cvitešić, she brings a charm to the role that makes you want her as a friend. Her character encourages and pushes Guy toward his dream and yet, she has her own fragilities that she must try to deal with. 

The rest of the cast all help to create the warm, comforting atmosphere of the show, touching on the lives of the two central characters all the way through. Ryan Fletcher as Svec provided the ridiculousness to lighten the heavier moments, as well as Tim Parker who was on as the character of Billy in this performance.

For me, the song highlights are Say It To Me Now (wish it was a bit longer), Leave, The Hill and, of course, Falling Slowly.

Once is a whisper of a love story. It creeps up on you without a big announcement, you barely even notice it's there, until you're choking back that lump in your throat during the nostalgic reprisal of 'Falling Slowly'. There's a wrenching feeling that this song that began their quiet love is now their parting song and that this particular tale is without conclusion. The pathos of a love story that was never even allowed to begin.

Recommended if:- You're looking for a show that draws back all the glitz and grandeur of the modern musical to reveal a heartwarming story without pretensions

Avoid if:- You're out for a loud evening of high energy choreography, familiar songs and complicated sets & scene changes

For more information, or to book tickets, please visit the official website. 

Sidetrack

I have to mention the programme for this show, which is well worth the money. 

My programmes for the other 2 shows I saw are identical apart from the actual show information. But the programme for Once looks like someone has put thought into what the audience might like to see in it and there is more show related content than adverts, unlike my other programmes on this occasion; Another disappointing indicator of the money grabbing nature of many other shows on the West End at the moment.