Cilla the Musical

Review by: Paul Towers, 09 October 2018

Cilla the musical  by Jeff Pope

A Bill Kenwright production

Curve 9 – 13 October 2018

“Kara Lily Hayworth takes the stage by storm.”

When Priscilla Maria Veronica White, aka Cilla Black, died in Spain on 1 August 2015 many thought that that would be that. Her legacy would be 50 odd years of entertaining the great unwashed public, many hours of tapes and DVD’s of her TV work, 41 singles and 35 albums. But then her enterprising son, Robert Willis, thought that her life apart from the entertaining was interesting enough to warrant a biographical drama. And so it was that Sheridan Smith donned the trademark red hair to bring her heydays to a whole new audience in 2014.

From the success of that TV mini series a full blown musical theatre show was created by the same author, Jeff Pope. Sadly Cilla didn’t live to see the finished production but had given her blessing to a first draft.

The story of Cilla’s early life is fairly well known to those with an interest in the 60’s and 70’s music scene. Spotted by Beatles’ manager Brian Epstein in Liverpool’s Cavern Club the office girl Priscilla White was groomed for a singing career. Besotted Bobby Willis tagged along as her road manager watching as Epstein propelled her to mega stardom. With her sights firmly set on stardom Cilla, as she was now named, strung Bobby along until she suddenly realised she couldn’t manage without him and finally married him.

This perfectly illustrates how Pope and Robert Willis don’t gloss over some of the less palatable aspects of Black’s rise to prominence.

Like the TV series the story is of Cilla’s journey up to the moment that Brian Epstein dies in mysterious circumstances leaving a contract for her very first BBC series and thence super stardom.

In the title role Kara Lily Hayworth takes the stage by storm and makes the role her own with, dare I say it, a better voice than the original. Alexander Patmore as Bobby Willis plays the second in command of her career with aplomb while Andrew Lancel’s wooden acting style perfectly fits the character of controlling and manipulating Brian Epstein.

A versatile set framed by railway arches and incorporating many drop down flies takes us from the almost poverty stricken Liverpool of Cilla’s childhood to the Abbey Road studios and various TV studios.

Neil Macdonald as her father, John, channels Stanley Holloway to good effect. Providing most of the onstage music are Bill Caple, Alex Harford, Joe Etherington and Michael Hawkins as Ringo Starr (very complimentary casting), George Harrison, Paul McCartney and John Lennon respectively. My only criticism would be that the band/orchestra sometimes overpowers Hayworth’s voice

While many of the musical numbers are from Cilla’s back catalogue there are also quite a few from other influential Mersey Beat artistes like the Beatles, Gerry and The Pacemakers and The Big Three.

This is a joyful musical that tells the story of a poor Liverpool girl who made it big by sheer talent.

Cilla is halfway through a national tour (again) and is at Curve until Saturday 13 October

Details of future tour dates can be found at http://www.cillathemusical.com/

First published on Western Gazette

The Wipers Times

Review by: Paul Towers, 24 September 2018

The Wipers Times by Ian Hislop & Nick Newman

A Trademark Touring & Watermill Theatre production

Curve – 24 – 29 September 2018

“a wonderfully comic account of the genesis of satirical publishing.”

Gallows humour is the laughs that come from dire circumstances. Funeral Directors are adept at defusing the sadness of their profession with  laughter. So, too, are soldiers, especially those on the battlefield, as was expertly portrayed by the film M*A*S*H.

The Wipers Times is a perfect example of humour being used to offset the horrors of the first world war and the task of surviving another day.

Chancing upon an old manual printing press in amongst the bombed out buildings of  Ypres, Fred Roberts and Jack Pierson, by chance having the services of ex printer Tyler to hand, resolve to utilise the dark humour of their situation and produce a morale boosting newspaper; an outlet for their emotions and a chance to satirise the high command.

Often written in those dark, wet nights between shellings and edited under fire, the prodigious output of the contributors was deemed by the authorities to be subversive and undermining of the war effort. Various commands to shut the paper down were ignored or circumvented and it continued throughout the war.

Ian Hislop and Nick Newman have written a wonderfully comic account of the genesis of satirical publishing. An hilarious mix of narrative, songs and dancing take us through the almost non-stop barrage of gunfire as the paper is compiled.

The Wipers Times paper got a fleeting name-check in the film Oh What A Lovely War and the favour is returned with fantasy sequences in homage to that show.

The wonderful programme on sale at Curve is created as a spoof copy of The Wipers Times with satirical poems, advertisements and stories.

A tight cast of 10 are lead by James Dutton and George Kemp as Roberts & Pierson. The set, designed by Dora Schweitzer, is effectively complimented by the sound and lighting effects of Steve Mayo and James Smith to recreate the appalling conditions of a Ypres trench.

The Wipers Times is on tour until December

Full details on www.wiperstimesplay.co.uk

First published on Western Gazette

Speaking After Dinner

Review by: Paul Towers, Thursday, 20 September 2018

Speaking After Dinner

Jack Campbell

Upstairs @ The Western, 20 Sept 2018

“2 hours of  comedy.”

Tonight, scheduled as Speaking After Dinner with Jack Campbell & Matt Hollins, was replaced at the last minute by Jack Campbell and Friends when Matt went down with some sort of sickness. Get well soon Mr Hollins.

Jack Campbell MC’d the evening and kicked off with a some skilful audience interaction to warm us up on a stormy Leicester night.

Stepping into the breach were Lovdev Barpaga with a stream of one liners, some new, some old. Lovdev specialises in puns and is the current reigning UK Pun Champion. His set elicited the requisite groans and laughs from an appreciative audience.

Next up was Upstairs’s resident comedy workshop tutor, Jason Neale with the tale of a disappointing visit to Twycross Zoo with his 2 year old for the first time. His style is a casual ramble through a personal experience. Hilarious.

After the interval Jack Campbell was back with his experiences on being obsessed with the Wii and golfing.

Danny Clives was a new face to me and had a very self deprecating way of illustrating his perceived shortcomings while trying desperately to get a girlfriend

Finally there was Freddie Ferrell, a self proclaimed fat bearded bloke who still can’t believe he has found the love of his life (apart from Big Macs)

This was 2 hours of  comedy work in progress and more than worth the £5 entrance fee

Upstairs at The Western http://upstairsatthewestern.com/
First published on Western Gazette

Cats

Review by: Paul Towers, 18 September 2018

Cats by Andrew Lloyd Webber & TS Eliot

Leicester Theatre Group presentation

Little Theatre 18 – 22^nd September 2018

“hugely talented cast with the confidence of a professional troupe.”

Leicester Theatre Group is a Newfoundpool based non-profit organisation created to provide young people aged 11 to 18 with the opportunity to get involved in musical theatre and perform in one of their regular West End style productions, usually at The Little Theatre or the Sue Townsend Theatre. Last year they did Les Miserables and this year it is the turn of Cats.

A huge cast of 42 bring TS Eliot’s tales of Jellicle Cats to life on a set designed by Neil Allan that resembles a derelict yard. Ranged round the back is slatted fencing which cleverly allows the various kittens and cats to roam up and down the gantries behind giving the illusion  of a community of feral felines.

Director Zoe Curlett is an experienced West End performer and brings a mainstream sensibility to the production. Like Bob Fosse, Gillian Lynne’s style of choreography is instantly identifiable and Jessica Vaughan has wisely not deviated far from the original.

In such a large production there is plenty of room for individuals to shine and Maev Wood’s Grizabella singing Memories broke everyone’s heart.

This hugely talented cast danced and sang with the confidence of a professional troupe.

Cats is at The Little Theatre until Saturday 22^nd September but is sold out. Call the box office for any returns.

www.thelittletheatre.net

First published on Western Gazette
A version of this review was broadcast on TakeOver Radio

Chitty Chitty Bang Bang

Review by: Paul Towers, 12 September 2018

Ian Fleming’s Chitty Chitty Bang Bang by Richard & Robert Sherman, book by Jeremy Sams

A Leicester Amateur Operatic Society production

Haymarket Theatre 11 – 15 September 2018

“a spectacularly successful evening’s entertainment”

The Leicester Amateur Operatic Society (LAOS) has a reputation stretching back to 1890 for putting on professional quality shows using amateur performers. Their back catalogue covers a wide range of classics and modern shows. This year’s production, Chitty Chitty Bang Bang, took to the stage in the West End in 2003 and on Broadway in 2005. The touring version ran from 2015 to 2017.

Based on the 1968 film this musical is the story of a single dad bringing up two children and home schooling them alongside their grandfather. The children persuade him to buy a wreck of a car that they have been playing with in a neighbour’s back yard. This turns out to be a somewhat famous old racing car which, unbeknownst to them, possesses magical powers. This is why the evil Baron Bombast wants it. Caractacus, the children, grandpa and Truly Scrumptious join forces to defeat the Baron, evade the Child Catcher and free the children of the kingdom.

Unexpectedly written by James Bond creator Ian Fleming and originally filmed by James Bond auteur Cubby Broccoli it was adapted for the screen by Roald Dahl (no surprise there).

As expected LAOS fielded a strong cast led by Darryl Clarke as an energetic Caractacus Potts, Nicole Webb as Truly Scrumptious with Harry Rooney and Rosie Oldman as the children. The scene stealer of the night was Rory, playing Edison the dog. Of course the outright star of the night is the car. And yes it does fly

With loads of sets, lots of back drops and a huge cast of 45 you would expect this to be a spectacularly successful evening’s entertainment. While the cast sing and dance up a storm; the sets are wheeled on and off mostly without too much noise. However all the hard work of the cast and crew was spoiled by an appallingly bad and inefficient sound system. All the way through the production the sound either cut out, faded down or blasted out feedback. The providers of the audio system should be ashamed of themselves. All credit should go to the cast who carried on without missing a beat. Professional performers in every way. Hopefully these problems can be rectified.

First published on Western Gazette

Strictly Ballroom The Musical

Review by: Paul Towers, 5/9/18

Strictly Ballroom The Musical by Baz Luhrmann & Craig Pearce

A Leeds Playhouse production directed by Drew McOnie

Piccadilly Theatre London until October 27^th 2018

“the highest of camp and makes BBC’s Strictly Come Dancing look dowdy”

Anyone who remembers the 1992 film by Baz Luhrmann will be in no doubt about what to expect of his stage version. Imagine the result if Priscilla, Queen of the Desert was crossed with Everybody’s Talking About Jamie but with added feathers, sequins  and tulle. You would be going some way towards what is on the stage of The Piccadilly Theatre.

This show is the highest of camp and makes BBC’s Strictly Come Dancing look dowdy. All the girls look like drag queens. All the guys look like drag queens out of drag. It is huge fun with tons of laughs and a soundtrack of  familiar tunes shoe horned into the storyline with scant regard for chronology. But who cares?

The MC is the person who keeps everything under control (sort of) and sings most of the songs as he moves the narrative along. Usually this is played by Matt Cardle but on the Wednesday matinee I went his understudy, Justin-Lee Jones, was on and a very good job he did too. Two ladies sat behind me who had seen the show several times opined that he was the best yet.

Several of the characters have obviously been modelled on people we know. Les Kendall, played by Richard Grieve, is very much a Donald Trump caricature. Ken Railings, Gary Watson, was a high camp parody of Bob Downe (if there is such a thing) and Charlotte Gooch as Tina Sparkle was very like Kath & Kim, all screechy Aussie vowels.

The two leads were played by Jonny Labey and Zizi Strallen, both known for their dancing skills. However this show stretches them further than ever and they both rise to the occasion splendidly with a wide range of dance styles and some impressive pasodoble footwork ably instructed by Fernado Mira’s Rico

A great supporting ensemble camp it up as Scott Hastings (Labey) throws the world of Australian ballroom dancing into chaos with his innovative dancing. Cue feather, sequins and ball gowns aplenty as they swirl across the floor.

The Piccadilly Theatre is a slightly jaded building packed into the space behind Shaftsbury Avenue. The Royal Circle has a rake so steep you almost need crampons; the seats are so low you are in danger of getting DVT and the velveteen is desperately in need of replacement. That said, the staff are very welcoming and helpful while the bar prices are no worse than any other West End theatre

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

Autumn 2018 in Leicester's Theatres

Autumn Line-up in Leicester Theatres

Curve
Leicester’s award winning theatre has a myriad of shows on between now and Christmas. Curve Youth Theatre’s latest production is Fiddler on The Roof (10-19 August). Another original Curve production is Memoirs of an Asian Football Casual (26 Sept – 6 Oct). As usual there are a brace of shows for the Christmas period. This year is Made at Curve’s White Christmas (6 Dec – 13 Jan) and also Made at Curve’s Dr Seuss’s The Cat in The Hat (8 Dec – 12 Jan). Coming up we are also blessed with being the first stop on the national tour of Les Miserables (3-24 Nov) and a stopoff for Cilla, the Musical (9-13 Oct). Inbetween there are loads of one nighters and several touring shows.

Full details of all shows can be found at www.curveonline.co.uk/whats-on

Upstairs at The Western

Upstairs’s autumn season is proving to be another packed schedule of  old favourites and new productions. Monthly treats are once again Film Noir (taking over from the popular Silent Cinema nights), Uncle Armando, Find The Right Words, Drag Queen Bingo, Choir Night and the ever popular Comedy Workshop. Levered in the gaps between the regular nights are a wide variety of poetry, plays and  standup comedy.

Full details can be found at www.upstairsatthewestern.com/whats-on

The Little Theatre

Again this wonderful home to Leicester amateur theatre has a full programme of visiting and home grown shows for the autumn. Among the delights in store are Blithe Spirit, Cats, Little Shop of Horrors, Spamalot and the LDS annual pantomime, this year Mother Goose.

Full details at www.thelittletheatre.net/whats-on

Haymarket Theatre

Since reopening earlier this year this hidden gem has contented itself with a wide variety of corporate events and one-nighters. But this autumn they are expanding their appeal and staging a couple of shows that run. Chitty Chitty Bang Bang is the annual offering from LAOS (11-15^th Sept) and Treasure Island adapted by Sandi & Jennifer Toksvig (13 Dec – 6 Jan), the Haymarket’s first home grown production
Full details at www.haytheatre.com/whats-on