The Book of Mormon

 

Review by: Paul Towers, 21/1/2022

The Book of Mormon by Trey Parker, Robert Lopez & Matt Stone

A Sonia Freidman production

At Prince of Wales Theatre, London

 “ripe language and a camp chorus line”

 There has been lots of press about this show saying it is rude and disrespectful so I was looking forward to a raucous afternoon of theatre.

If you like South Park then you will definitely love Book of Mormon. Written by the same team this is a spectacular, musical tongue in cheek sending up of all organised religions, but especially Mormons.

The basic story is of a group of newly trained initiates being sent out into the wide world to convert the great unwashed to their version of religious belief. We follow two, Elders Cunnigham and Price, to Uganda. They assume it will be easy to convert the locals but the locals turn out to be far more intelligent than to simply accept what they are told.

As expected the language is ripe. In fact the only thing they missed was a C-bomb, but then we have all heard far too much about Covid lately!

There are, of course, wall to wall songs. What I didn’t expect was the outrageous choreography. At times it was so camp and homoerotic that I thought I was watching a trailer for gay Mormon porn!

I have long wanted to see this show and had originally booked to see it in 2020. Of course Covid threw a spanner in the works so I rebooked, twice. On that subject it has to be said that Delfont Mackintosh made the procedure very easy. Unlike some suppliers. It was also very reassuring that we had to show our vaccine passports before we could get in.

 

https://www.princeofwalestheatre.co.uk/
http://ptheatre.blogspot.co.uk/

 

Waitress tour

 

Review by: Paul Towers, 24/1/22

Waitress by Jessie Nelson with music & lyrics by Sara Bareilles

A Crossroads Live production directed by Diane Paulus

At Curve: 24 – 29 January 2022

 “laugh out loud moments blended with heartbreaking emotions”

 I first saw this show in London in 2019 and loved the skilful way that laugh out loud moments were blended with heartbreaking emotions. This touring production has lost none of the rollercoaster passions of the original.

Jenna (Aimee Fisher) is a waitress in a roadside diner somewhere in America’s deep south. She endures a life with her abusive husband, Earl (Tamlyn Henderson) but comes into her own when baking the most extraordinary pies for the diner. Compared to her awful home life her work is bolstered by her two best friends, Becky (Sandra Marvin) and Dawn (Evelyn Hoskins), Finding she is pregnant, unwittingly, by her husband Jenna embarks on an affair with her timid gynaecologist, Dr Pomatter (Matt Willis).

Aimee Fisher, normally understudying Chelsea Halfpenny, more than seizes the role of Jenna, giving her all in fine voice.

Matt Willis as the Doctor shows a great sense of comic timing. Being a member of pop group Busted it’s a given that he has a good singing voice.

Newcomer George Crawford as Ogie, Dawn’s stalker/boyfriend/husband (eventually) has the stand out comedy song and displays a fine acrobatic capability.

Evelyn Hoskins’ Dawn is comedically innocent and perfectly paired with Crawford.

Sandra Marvin’s Becky has some of the best funny lines in the show and makes good use of her great attitude.

All in all this is a great production of a great show. Perhaps not entirely suitable for a young audience featuring as it does domestic violence and adult language. But an almost full auditorium gave it a well deserved standing ovation at the curtain.

Waitress is at Curve until Saturday 29 January and then continues touring.

 

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

 

Rocky Horror Show

 Review by: Paul Towers, 10/1/22

Richard O’Brien’s Rocky Horror Show

Directed by Christopher Luscombe

Produced by Trafalgar Theatre Productions and Hill Street productions

At Curve: 10 – 15 January 2022

 “the original party night in a theatre”

 I first saw The Rocky Horror Show way back in 1973 when Tim Curry and Richard O’Brien were still in the cast. Back then it had found a home in the Kings Road Theatre, an old cinema appropriately enough.

In the intervening almost 50 years productions have circled the globe continuously, Every few years the show is tweaked to bring it up-to-date. But the basic story has always stayed the same. Why mess with cult perfection?

As the Narrator (Philip Franks) intones:

It seemed a fairly ordinary night when Brad Majors and his fiancée 

Janet Weiss, two young, ordinary, healthy kids, left Denton that 

late November evening, to visit a Dr. Everett Scott, ex-tutor, and

now friend to both of them.  It's true there were dark storm 

clouds, heavy, black, and pendulous, towards which they were 

driving.  It's true, also, that the spare tire they were carrying 

was badly in need of some air, but, uh, they being normal kids and, 

on a night out... well, they were not going to let a storm 

spoil the events of their evening, were they?...  On a night out... 

it was a night out they were going to remember... for a very long 

time.

As lightening flashes and thunder crashes the extraordinary night unfolds. Stumbling across an eerie castle in the middle of nowhere the young couple are dragged (pun intended) into a horror show of epic proportions.

A very talented cast sing and dance up a storm (another intended pun) while the Narrator attempts to push the story along, all the while batting back the encouraged catcalls from the audience. Philip Franks obviously has a battery of ad libs at his fingertips and relishes every one of them. Kristian Lavercombe’s Riff Raff is lascivious and menacing as the butler of the house but it is Stephen Webb as Frank N Furter who owns the stage as he struts, pouts, grinds and stomps across the set. As the innocent (for now) young couple who stumble across this den of iniquity, Ore Oduba (Brad) and Haley Flaherty (Janet) show fine comic timing and great singing voices.  Ben Westhead as muscle-bound hunk Rocky gives great naivety as his first day out of the lab progresses.

This iteration of the cult classic retains all the elements that have made it so popular but the soundtrack has been brought bang up to date and the choreography is slick and energetic.

Rocky Horror Show is the original party night in a theatre. Virgins should be warned there are some naughty bits so leave your snowflakes at home.

Rocky Horror Show runs til Saturday 15 January before continuing on its 2022 national tour

 

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

 

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/