Sleeping Beauty

  Review by: Paul Towers, 21/12/21

Sleeping Beauty written and directed by Janice Dunn

Produced by imagine Theatre

At DeMontfort Hall 11 December to 3 January 2022

 “Boo and hiss the bad fairy at DeMontfort Hall’s traditional pantomime”

 Once again traditional pantomime is back in Leicester after being cancelled last year. And once again we can thank Imagine Theatre for their Sleeping Beauty.

This well known staple of the pantomime circuit stars Coronation Street’s Wendi Peters (wicked fairy Carabosse), CBB’s Maddie Moate (good Fairy Phoenix) and X Factor finalist Andy Abraham (King Alfie). Returning once again are real life couple Matthew Pomeroy and Natasha Lamb. Magician Matthew has progressed from being just a speciality act to a fully fledged juvenile lead while his fiancée Natasha (they got engaged on stage during pantomime at DeMontfort Hall) has also blossomed into a leading juvenile actress, both of whom known as The Conjurors.

Ben Millerman as Nanny Nancy is a credible double act with Jarred Christmas as her nephew Jarred the Jester.

A largely young audience entered into the spirit with loud boos and hisses while joining in enthusiastically with the well known songs.

Some of the sound and pyrotechnic effects were a bit much for the very young.

Sleeping Beauty is at DeMontfort Hall until 3^rd January 2022

 

DeMontfort Hall https://www.demontforthall.co.uk/
http://ptheatre.blogspot.co.uk/

 

Matthew Bourne's Nutcracker

 

Review by: Paul Towers, 9/112/21

Matthew Bourne’s Nutcracker

A New Adventures production

Scenario by Matthew Bourne, Martin Duncan & Anthony Ward

Music by Pyotr Ilyich Tchaikovsky

At Sadlers Wells 14 Dec – 30 Jan 2022

 “Great fun reimagining of the classic ballet”

While the original music by Tchaikovsky was written in 1892 Matthew Bourne’s interpretation of the ballet first saw the light of day in 1992 in a double bill with Yolande for the Opera North Centennial .

Bourne changed the story from one of fairies and mice to children and sweets. Much more relatable!

The first half is set in an orphanage overseen by a sadistic manager and his cohorts. The children, while playful are mischievous. The day that the orphanage Governors are due the rooms are draped with Christmas decorations but the minute the inspection is over they are torn down and misery is again imposed. One of the orphans, Clara, was given a toy soldier which she immediately falls in love with. Unfortunately the manager takes the soldier doll and locks him in the cupboard along with all the other toys. Unable to sleep Clara sees the manager’s son stealing in and opening the cupboard only to find the toy soldier is now a full sized real boy. This precipitates a seismic shift in the orphanage and suddenly the walls split and a huge Christmas tree rises up. When the management rush in to see what the noise is the children fall upon them and take them prisoner. Clara’s ‘toy’ soldier takes her to the Frozen Lake to show her what a good time is.

The second half takes place in Sweetieland where Clara meets all sorts of sweets and inveigles herself into the inner sanctum. After meeting and watching the array of sweet inspired residents of the kingdom Clara finds herself finally back at the orphanage. But this time her soldier is by her side and together they climb out of the window and escape.

The technology used in this production is astounding and literally takes your breath away at times, especially the shattering of the orphanage walls. Of course the stand out aspect of the production is the costuming which gives full reign to the designers imagination. The story is full of amusing cameos and several laugh out loud moments. This is a hugely enjoyable production suitable for all ages.

This was my first visit to Sadlers Wells and I had a great uninterrupted view from the back of the upper circle.

Matthew Bourne’s Nutcracker is on til 30^th January 2022

 Sadlers Wells: www.sadlerswells.com
http://ptheatre.blogspot.co.uk/

 

Pantoland at the Palladium

  

Review by: Paul Towers, 9/12/2021

Pantoland at The Palladium

Directed and produced by Michael Harrison

At The London Palladium 4 December to 9 January 2022

 “A spectacular festive treat for the grown ups”

 When we first came out of lockdown in 2020 Michael Harrison wisely decided to stage a relatively Covid-safe ‘pantomime’ that was more variety show to allow the various cast members to stay separated and thus less likely to infect each other.

So, when after just a few days theatres were once again shut down the whole show was put on ice. As this year we are still fighting the pandemic it was decided, quite sensibly, to follow the same format. While most of the cast members were still available some had to be replaced and the show re-jigged slightly.

What we have then is a modern casting of what the old Sunday Night at The Palladium would look like.

The cast is headed up by the inimitable Julian Clary, now a past master of the pantomime tradition of double entendres taken to the nth degree. Now that Palladium tradition has morphed into very much a show for grown-ups Clary has driven closer and closer to the fine line. Remember Norman Lamont? It is veering that close!

Making his pantomime debut is ex-teen heartthrob Donny Osmond. His initial appearance through the velvet curtains prompted a hundred Tena Ladies to moisten as in days of old. Donny of course was the butt of many a joke from both Julian Clary and Paul Zerdin’s puppet Sam, thus taking some of the heat off returning ‘spare part’ Nigel Havers. Havers has beefed his part up by rummaging in the costume store and walking on with random outfits at inappropriate times to great laughs.

Playing the parts of the young lovers (there are always young lovers in pantomimes) were Jac Yarrow and Sophie Isaacs who, despite singing and dancing their little hearts out, were given no kudos by Julian who sent them up at every occasion.

Paul Zerdin and his puppet Sam also insulted everyone within striking distance, including those unfortunate enough to be in the front row.

Playing the traditional dame once again is Gary Wilmot, giving us his Underground Stations song to great applause.

The cast was rounded off by the latest incarnation of the Tiller Girls, first formed in 1864 and still going strong. Obviously not with the same line-up!

As is to be expected in a Palladium panto the theatre’s full compliment of tricks are at their disposal and the first half closed, for no logical reason, with Jac Yarrow cosied up between Julian Clary’s legs on a flying carpet. To be honest a bit meh for those of us who have seen Disney’s Aladdin. Then it flew out over the orchestra pit and turned upside down!

This spectacular show runs til 9 January 2022 and is worth seeing purely for Julian’s costumes!

 

The London Palladium - https://lwtheatres.co.uk/whats-on/
http://ptheatre.blogspot.co.uk/

       

 

A Chorus Line

 Review by: Paul Towers, 07 December 2021

A Chorus Line by James Kirkwood & Nicholas Dante.
Music by Marvin Hamlisch, lyrics by Edward Kleban

A Made at Curve production

At Curve: 3 - 31 December 2021

 “A Chorus Line is ‘One Singular Sensation’”

 A Chorus Line was originally conceived, directed and choreographed by Michael Bennet in 1975. In 1985 Richard Attenborough directed the film version starring Michael Douglas as director Zack.

The show tells the story of  a group of dancers who are looking for a last chance to be on Broadway. In amongst the hopefuls are some newbies hoping for a leg up in the musical theatre business.

Each of the main hopefuls get a chance to shine either through dance or song (or both). Cleverly a cameraman whirls around the cast as they step into the spotlight and the footage is projected onto the back wall.

The cast are all excellent dancers and singers and are led by the legendary Adam Cooper returning to Curve as Zack, the director, who prowls around the stage and auditorium exerting his authority. Also returning to Leicester is Carly Mercedes Dyer who made such an impact in Curve’s productions of West Side Story and The Color Purple.

Directed by Curve’s own Nikolai Foster and choreographed by Ellen Kane (West Side Story) it is no wonder this is a spectacular feast for the eyes and ears. Stand out songs are ‘One’ (especially the finale version), ‘I hope I get it’ and the perennial hit ‘What I did for love’. If you don’t already know the soundtrack you will be pleasantly surprised at the range of genres.

This is an ageless tale of aspirations and heartbreaks.

The stage is virtually bare (designed by Grace Smart) but with an ambitious lighting rig that designer Howard Hudson uses as an additional cast member. An onstage band, mostly hidden on a  revolving edifice, and supervised by Tom Marshall & Tamara Saringer, gives a full throated soundtrack to the performers.

The main cast of 23 are supplemented by teams of 10 local dancers.

A Chorus Line is ‘One Singular Sensation’ to send you back out into the cold, wet Leicester night humming memorable songs and feeling uplifted by the megawatt finale. This is Curve’s festive treat and runs all the way through December to 31^st.

 Curve https://www.curveonline.co.uk/
http://ptheatre.blogspot.co.uk/

 

The Funny Girls

Review by: Paul Towers, 18/11/2021

The Funny Girls by Roy Smiles

Produced by Thomas Hopkins, in association with Andrew Exeter, directed by Michael Strassen

Starring Mia Tomlinson & Rosanna Harris

Upstairs at The Gatehouse 26 Oct to 21 November 2021

 “a fast paced script full of Jewish humour”

 In 1961 19 year old Barbra Streisand was trying desperately to escape sleeping on the couch of her overbearing and hyper-critical Jewish mother. To that end she wanted to be an actress and was appearing off-off Broadway in a disaster called Driftwood.

It was in this production that she encountered a 24 year old Joan Rivers who played her lesbian stalker. Finding out that her mother was seated front and centre Barbra was terrified of going on and facing her critical comments. Bonding over their shared experiences of overbearing mothers Joan tasks herself with talking Barbra into going onstage. Joan, after all, has an agent in that night.

So for the first half we have the two struggling actresses biting chunks out of their lives as they bouy each other up until Joan literally drags Barbra onto the stage as the curtain rises.

In the second half we fast forward 10 years and Miss Streisand is a Las Vegas star while Miss Rivers is a national comedy star. Now the egos are starting to run out of control as they vie to be the most successful diva. The one-liners become more vicious and they end up fighting in Streisand’s dressing room before walking off arm in arm.

Obviously the dialogue is all imagined but the bare bones of the story is real. Streisand and Rivers did meet in an awful play off-off-Broadway and did become sort of friends.

As Streisand Rosanna Harris has the look and the voice, which she uses to great effect at the end of act one when she bursts into song. Mia Tomlinson as Joan Rivers is less effective. While looking quite like Rivers she spoils the characterisation with too much gurning and pauses (for laughter?). That said the pair go great guns when the script ramps up the one-liners. It is like machine gun fire as they rip into each other.

Roy Smiles has fashioned a fast paced script full of Jewish humour.

This was my first visit to Upstairs at The Gatehouse and I was impressed with the spacious auditorium and the friendly welcome from the staff.

The Funny Girls is at Upstairs at The Gatehouse until 21 November 2021

http://thefunnygirls.co.uk/

http://ptheatre.blogspot.co.uk/

 

Harpy

 Review by: Paul Towers, 11 November 2021

Harpy by Philip Meeks, starring Su Pollard

Produced by Something For The Weekend

At Curve: 11-12 November 2021

 “Su Pollard is a revelatory tour de force”

 Harpy [ hahr-pee ]
(1) (lowercase) a scolding, nagging, bad-tempered woman; shrew.

 Birdie has mental health problems. She has unfairly been called a harpy, a psycho, a mad woman.  But so long as she keeps taking her medication she can be self sufficient. Her flat is crammed full of mementoes, and not just of her life. She picks up things that people have discarded in case they are important. She has lost things in her life and would hate for someone to lose something just because nobody looked after it. She has a love/hate relationship with her social workers and often refuses to engage with them. She has been pigeonholed as ‘mentally ill’ but really she considers herself just to be ‘different’. Who are we to judge?

Award winning playwright Philip Meeks has created Harpy especially for national treasure Su Pollard and it perfectly fits her capabilities being in turns hilarious and poignant, all played out against the soundtrack of the 80’s

The first half is peppered with killer lines like “Just because I kept a Jehovah’s Witness in the broom cupboard for 3 days suddenly I’m Joseph Frtizel!” which suddenly take you by surprise.

The second half, when Birdie has stopped taking her medication, delves into her back story and goes some way to explaining how she has got to where she is. Sad as it all is humour is never far away as Birdie battles with her neighbours and her social workers.

Su Pollard is a revelatory tour de force in this hilarious one-woman show directed by Abigail Anderson.

Tour details available at: https://www.sftw.info/harpy

 Curve https://www.curveonline.co.uk/
http://ptheatre.blogspot.co.uk/

 

Tell me on a Sunday

 

Review by: Paul Towers, 12 October 2021

Tell Me On A Sunday by Andrew Lloyd Webber & Don Black

The Watermill Theatre production

Starring Jodie Prenger, directed by Paul Foster

At Curve: 12-16 October 2021

 “A girl's loves found and lost in America”

 The original score for Tell Me was premiered, as so often with Lloyd Webber shows, at his Sydmonton Festival in 1979 starring Marti Webb. The positive reception was so good that it was filmed in a theatre and broadcast on the BBC. This led to the soundtrack album becoming a chart topper. The score , all songs and no dialogue, only ran for less than 60 minutes so Lloyd Webber, after advice from Cameron Mackintosh, decided to create a dance piece to create an Act 2. This went out as Song and Dance with a variety of singers and, starting with Wayne Sleep, a selection of dancers.

In 2003 5 extra songs were created and the story rewritten by Jackie Clune to enable the show to stand alone. In this format it has been touring off and on ever since. Jodie Prenger starred in the Watermill Theatre revival in 2016 and has been touring it bringing it to Curve for a week.

Emma, the girl of the story, is a naïve young woman from Muswell Hill who has moved to America in search of love. In New York she discovers her boyfriend has been tom- catting it around the city. Walking out on him she soon falls for Hollywood producer Sheldon Bloom and tries to change to become what he wants in a trophy girlfriend. But Sheldon is way too busy being in the film industry to give her the attention she deserves so once again she goes back to the Big Apple. One after another she hooks up with guys who only want one thing, only to have it rubbed in her face by her so called friends.

A series of conversations with various people and letters to her mother back in Blighty fill out her experiences.

Alone on a stage Jodie Prenger fills Curve’s studio space without amplification. Her full voice reaching the back stalls with ease. As she acts out the various emotions it is immediately obvious what is going on. A minimum of props and several (very quick) costume changes show Emma’s criss crossing of America as she chases another possible Mr Right.

A band of 4 live musicians lurk behind a set depicting the New York skyline.

I remember seeing Marti Webb in this show and Jodie Prenger more than matches her performance and is well worth seeing

Tell Me On A Sunday is at Curve til Saturday 16^th October.

 

Curve https://www.curveonline.co.uk/

www.tellmeontour.co.uk
http://ptheatre.blogspot.co.uk/