Category Archives: musical

The Peasants are Revolting

LES MISERABLES

Birmingham Hippodrome, Friday 12th August 2022

Victor Hugo’s sprawling novel of post-revolutionary France (honestly, you could derail a train with that thing) has become more widely known due to this musical adaptation, which receives something of an upgrade after all these years.  The staging is enhanced by video projections, mainly of gloomy watercolours (inspired by the daubs of Hugo himself), but these effects never overshadow the action.   The lighting, by Paule Constable, is absolutely beautiful, giving scenes the richness of the Old Masters.  The visuals match the quality of the music and the singing.  The show feels both familiar and fresh.

Dean Chisnall is powerful as the upright Jean Valjean, a man seeking to rehabilitate himself after a 19-year stretch for stealing a loaf of bread.  Valjean should try his luck in the supermarkets of today, where even the tubs of butter have security tags.   Branded a criminal for the rest of his days, Valjean is the moral heart of the story, and Chisnall’s singing has a purity to it.  His nemesis, the dogged Inspector Javert, is played by an imposing Nic Greenshields, towering over everyone else.  Greenshields brings nuance to the putative villain of the piece, even displaying tenderness over the (Spoiler) corpse of plucky little Gavroche.

At this performance, the role of young lover Marius is played by Caleb Lagayan, who really shines in the heart-breaking Empty Chairs and Empty Tables.  His voice blends marvellously with Paige Blankson’s soprano, and the trio, when the lovers are joined by go-between Eponine (Nathania Ong) is sublime.  Also strong are Rachelle Ann Go as the doomed Fantine, Rick Zwart as the kindly bishop, Samuel Wyn-Morris as the rousing Enjolras, and of course Ian Hughes and Helen Walsh, who rapidly establish themselves as audience favourites, the ghastly Thernadiers.

The chorus scenes are stunning, whether squabbling in a dingy factory, beckoning outside a brothel, or manning the barricades – these latter scenes are almost immersive, thanks to Mick Potter’s sound design; you can almost feel the bullets whizz past your head.

It’s been a while since I’ve seen or listened to the show.  I’d forgotten how repetitive the score can be, with tunes and phrases repeated and repeated.  The big numbers are bangers, of course, but I find the recitatives a little wearing.  (Incidentally, audience member seated directly behind me, it’s not really appropriate to whoop and holler to demonstrate your appreciation for someone’s tender death scene, no matter how well it’s performed.  Glad you’re enjoying it, but not down my earhole, please!)

For me, the star of the show is the translation of the book and lyrics into English by Herbert Kretzmer, giving dignity to the undignified, wit to the wretched, and compassion to the tortured.  It’s thrilling to see the show performed live with all the bells and whistles (no thank you, concert performance) and thank goodness you don’t need a degree in French history to derive an immense amount of pleasure from all this suffering.

The French have always been better at taking to the streets than we Brits.  The show emphasises romance over social injustice, hitting us emotionally rather than politically, so don’t expect to leave the theatre in revolutionary mood.

Stirring stuff, in one respect, but the message seems to be, The poor are always with us, and there’s nothing you can do about it.

☆ ☆ ☆ ☆

One reprise more!

Cher and Cher Alike

THE CHER SHOW

Birmingham Hippodrome, Tuesday 2nd August 2022

Charting the life story of one Cherilyn Sarkisian, this show gives us not one, not two, but three Cher-alikes, depicting the diva at three stages of her career.  There is Millie O’Connell as Babe, taking us from bullied schoolgirl to budding hippie popstar.  There is Danielle Steers as Lady, showing us Cher in the Sonny Bono years.  And there is Debbie Kurup as Star, giving us Cher post-Sonny and beyond.  Each performer is phenomenal but I find when they’re all on stage together, I can’t help but compare them: this one looks most like the real thing… that one sounds most like the real thing… The other one can do the hair toss…  When they’re all chatting in that characteristic and highly mannered way of speaking, it’s a bit weird.  What starts as a narrative device becomes an alienation effect, and I can’t warm to any incarnation.

Rick Elice’s book contains some zingers but on the whole I get the impression that Cher has had a miserable life.  The script focusses on the low points, the relationship break-ups, the unemployment, while successes (winning an Oscar) are glossed over.  Some songs fit their moments better than others, but we get all the hits – and more.

With Arlene Phillips directing and Oti Mabuse choreographing, as you might expect, the staging of the musical numbers is top drawer, energetically executed by an excellent ensemble.  Production values are high, although the set, which mainly consists of row upon row of costumes in bags suspended on rails, gives the impression that the main events of Cher’s life took place in a dry cleaner’s.

As well as the three Chers, we get Lucas Rush bringing moments of tension as Sonny Bono, Jake Mitchell camping it up as Bob Mackie, and the versatile Sam Ferriday playing a range of parts including 70s rock yeti Greg Allman.  There is strong support from Tori Scott as Cher’s mum, although she does repeat the key line, “The song makes you strong” a little too often.  One moment is splendidly touching: the recently deceased Sonny duetting with Cher one last time, before she realises she’s no longer got you, babe.

Danny Belton conducts a splendid band.  The story might come across as a bit of a downer but the music is relentlessly uplifting, culminating in the inevitable megamix that gets everyone on their feet and enjoying the party atmosphere.  And there is much to enjoy, in the performances, in the music, but I feel unengaged and distanced from the material, and I love Cher as much as any gay man.

☆ ☆ ☆

Three Chers! Hip hip hooray! Danielle Steers, flanked by Millie O’Connell and Debbie Kurup (Photo: Pamela Raith)

Gangsters’ Paradise

BUGSY MALONE

The REP, Birmingham, Friday 29th July 2022

Alan Parker’s much-loved film comes to the stage in this exuberant touring production that originated at London’s Lyric Theatre.  As in the movie, the roles (the principal ones, at least) are played by child actors.  It’s New York in the 1930s, a city dominated by the gangland rivalry between Fat Sam and Dapper Dan.  The latter has the upper hand, thanks to the advent of a new weapon, the splurge gun.  Sam’s men are getting splattered, or ‘splurged’ at an alarming rate.  This is organised paintballing.  While the deaths are quite graphically executed, so to speak, the actors get up again and walk off, just like a child’s game.  Sam strives to regain dominance by tracking down the source of the new guns.  Meanwhile, the eponymous Bugsy is trying to raise the dough to get his new love interest, Blousey, to Hollywood…

As crime boss Fat Sam, Albie Snelson throws his weight around convincingly, portraying the long-suffering, the short fuse, to perfection.  He is supported by a host of characters played by the slightly-older chorus, ensuring his scenes are a lot of fun.  Jasmine Sakyiama’s statuesque gangster’s moll, Tallulah has a dignity and knowingness to her, but lacks the jadedness of Jodie Foster, but this production keeps almost everything upbeat.  As Sam’s rival, Dandy Dan, Desmond Cole has an unquestionable authority.

Mia Lakha’s Blousey, the wannabe star, proves she can deliver the goods, belting out a couple of torch songs that suggest this Blousey will go far. Special mentions go to Aidan Oti for his sweet but downtrodden Fizzy, and Mohamed Bangura as burly boxer Leroy.

In the title role, the diminutive Gabriel Payne gives a phenomenal performance, with singing and dancing that takes my breath away but not, apparently, his.  It’s as though Billy Elliott has turned to crime.  His acting his top drawer.   In fact, across the board, the stylised Noo Yoik accents are done well, suiting the snappy dialogue of Parker’s script. While the screenplay revels in its own cinematic artifice, the stage adaptation acknowledges its theatricality, in an almost Brechtian way. Fat Sam having to change his own scene, kvetching about it as he does so, is just one example.

The score is marvellous, with all music and lyrics by Paul Williams, and it’s a treat to be reminded of his brilliance.  Drew McOnie’s lively choreography brings us all the period tropes of the dancing of the era but strings them together in a manner that seems fresh and new.

Children acting as adults shows us the childishness of the adults’ behaviour, leading to nothing but death and destruction.  I would have liked more splurge in the climactic bloodbath, for the stage to be awash with foam and custard pies, but the point is made.  Society needs to put down its guns and ditch the territorial attitude if any of us is to have a chance to survive.

Exhilarating!

☆ ☆ ☆ ☆ ☆

Little big man: Gabriel Payne as Bugsy and Jasmine Sakyiama as Tallulah (Photo: Johan Persson)


Serves Us Right

WAITRESS

Grand Theatre, Wolverhampton, Tuesday 28th June 2022

The last musical I saw that was based around pie-making was Sondheim’s Sweeney Todd.  This show has a completely different flavour.  Based on a film from 2005, this hit musical is on the road at last.  It’s the story of Jenna (Chelsea Halfpenny) who is not only the titular waitress but also something of a master baker.  Her pie is the talk of the town and, this being small town America, when they talk of pie, they usually mean sweet dishes and desserts.

The scene is Joe’s Pie Diner and it’s populated with a host of eccentric characters.  Everyone we meet is clearly defined by their personal quirks.  Jenna’s co-workers are Becky, the sassy black one, and Dawn, the goofy, nerdish one.  Their boss is manager-cook Cal, who is irascible, and they are visited daily by the diner’s grumpy owner, Joe.  An ensemble makes up extras but also, with some nice touches of physical theatre, represent what’s going on in Jenna’s mind.

Jenna is at a turning point.  Her redneck husband Earl has put a bun in her oven, thwarting her dreams of leaving him, but then Joe tells her of a pie-baking contest where the prize money would be enough to set her up in a new life…  But then Jenna goes and falls for her gynaecologist.  Things are looking up, you might say.

Jenna’s the most grounded of the characters, and Chelsea Halfpenny plays her with heart and warmth, proving she can belt when required by the score.  You can’t help liking her.  David Hunter is hilarious as handsome Doctor Pomatter, socially awkward and gauche, making an unusual leading man.  Wendy Mae Brown lifts her Becky above the stereotype – her rich, chocolate voice a real treat when she finally gets a solo.  Evelyn Hoskins’s Dawn could quite easily be Hairspray’s Penny Pingleton, playing the comedy very broadly.  Again, we can’t help liking her.  Even sour-tempered Cal (Christopher D Hunt) has his moments.

Dawn’s dating-site suitor comes along and out-quirks everyone: George Crawford in a scene-stealing role as Ogie.  And there is more to Tamlyn Henderson’s Earl, Jenna’s controlling, redneck husband, the villain of the piece; we get to glimpse his vulnerability and why Jenna fell for him in the first place.  There is also some delicious sarcasm from Scarlet Gabriel’s Nurse Norma.  Michael Starke (yes, Sinbad off of Brookside!) channels Colonel Sanders for his turn as Joe, something of a father figure for Jenna.  His song, Take It From An Old Man touches even my jaded heart.

Music and lyrics are by Sara Bareilles, and it’s a jaunty, likeable score. beautifully played by the on-stage band, led by Ellen Campbell. Almost everything is sweet and upbeat – even a number about doing a pregnancy test.  Jessie Nelson’s book is peppered with good humour that the cast plays to the hilt.  Sometimes, the comedy feels a little forced and the resolution is a little too pat – but this is musical theatre, so we allow it.

All in all, Waitress serves a lot of feel-good fun, keeping on the right side of saccharine sickliness.

Flantastic.

☆ ☆ ☆ ☆

Wendy Mae Brown, Chelsea Halfpenny and Evelyn Hoskins (Photo: Johan Persson)

Right as Rain

SINGIN’ IN THE RAIN

Birmingham Hippodrome, Tuesday 7th June 2022

I maintain that the 1952 Gene Kelly-Debbie Reynolds film is a pinnacle of cinematic endeavour, so any stage production seeking to emulate this piece of perfection has an impossible task ahead.  This large-scale touring production  originating from Chichester Festival Theatre comes pretty close!

A spoof of the advent of ‘talking pictures’, this story of Hollywood glamour is funny, romantic and spectacular.  This show doesn’t stint on the large production numbers.  Andrew Wright’s exuberant choreography delivers period, verve and character.

Sam Lips makes quite a splash as leading man Don Lockwood, cocksure and on the right side of cheesy.  A lovely crooner, Lips can also hoof it – the iconic title song which closes the somewhat lengthy first act is everything you want it to be.  As Don’s love interest, the sunny, funny Kathy Selden, Charlotte Gooch is practically perfect, while Jenny Gayner is hugely entertaining as villainous diva Lina Lamont – you can’t bring yourself to hate her.

Stealing the show, though, is the indefatigable Ross McLaren as Don’s sidekick Cosmo Brown.  McLaren lights up the stage, combining terpsichorean talent with comedic flair.  His Make Em Laugh brings the house down, and his double act with Lips delivers some of the funniest moments of the show.  You can’t take your eyes off him.

Director Jonathan Church doesn’t miss a detail.  The filmed excerpts are a delight, and there’s a light touch to the comedy across the board.  The musical numbers are wonderful.  Some standouts include All I Do Is Dream Of You, Good Morning, and the extended, luxuriant Broadway Melody sequence, where the production values go through the roof. Simon Higlett’s costumes bring a rainbow after the downpour.

The infectious score is played by a tight-knit orchestra with Grant Walsh at the helm, the music so evocative of that bygone age.

An absolute joy, a celebration of showbiz, and  pure, unadulterated fun, the show’s message is to enjoy yourself whatever life chucks at you.  Sing in that rain!

☆ ☆ ☆ ☆ ☆

Storming it: Sam Lips, Charlotte Gooch, and Ross McLaren (Photo: Johan Persson)

Ooh, you are lawful…

LEGALLY BLONDE – The Musical

Stratford Play House, Stratford upon Avon, Friday 6th May 2022

Stratford Musical Theatre Company turn their talented hands to the musical adaptation of the well-known Reese Witherspoon comedy film, in a vibrant production at the Play House, a venue that is more suited to bands and stand-up comedians.  And so the staging tonight is minimal, leaving the floor free for the large chorus to occupy – director Georgie Wood has drilled her cast to maximum efficiency for getting things on and getting things off again, so the piece runs like clockwork.

It’s the story of Elle Woods who, dumped by her egotistic boyfriend, follows him to Harvard Law School in hot pink and hot pursuit, as though getting a law degree will win the chump back… Elle is faced with prejudice because of her looks and demeanour but she overcomes obstacles to prove she is top of the class, and hey, you don’t need a man to make you happy… The show’s message seems to be about not judging books by their covers and breaking down stereotypes, which is a pertinent point to make: to be one’s authentic self.  Why then, does writer Heather Hach tarnish the piece with homophobic representations of LGBTQ+ people, who don’t get a chance to demonstrate they are more than the effeminate, posing, skipping fairies we are subjected to here?  Signs, I think, of the material exceeding its show-by date.  I cringe throughout the song Gay Or European which goes against the positive stereotype-busting message of the rest of it.

Leading the cast as the titular blonde Elle Woods, Vanessa Gravestock delivers an engaging, impressive performance, balancing the dumb-blonde looks with Elle’s innate intelligence.  She’s an appealing presence with the star quality required by the role.

Other highlights (because she’s blonde!) include Christopher Dobson as the tough-talking Professor, effortlessly exuding his dominance and high status;  Casey McKernan amuses as Elle’s cocksure ex Warner; Ian Meikle endears himself as mild-mannered love interest Emmett; Katie Merrygold is stonkingly good as Elle’s new BFF, Paulette Buonufonte; and Oliver Payne makes a scene-stealing appearance as delivery man Kyle.

It doesn’t matter what the cast does though, because any time a dog is brought on, it immediately upstages everyone else!  And I can’t help wondering if the situation is stressful for the animals.

The chorus is great, filling the space with energy and performing Julie Bedlow-Howard’s lively choreography.  In particular, a cheerleading number is splendid.

The singing too is all the more impressive when you realise the singers can’t see musical director James Suckling and the band, who are walled up behind the backdrop!

Unfortunately, there are missed lighting and sound cues, and this is not opening night where you can excuse a few hitches.  Microphone coverage is patchy.  It feels like the show could have done with at least one more technical rehearsal to make these elements of the production as sharp as the rest of it.

☆ ☆ ☆ ☆

In the pink! Vanessa Gravestock front and centre as Elle Woods (Photo: David Fawbert Photography)

Jacob’s Cracker

JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT

Birmingham Hippodrome, Wednesday 6th April 2022

Andrew Lloyd Webber and Tim Rice’s first (and best) musical is on the road again in this refurbished production by director Laurence Connor.  There are a few interesting changes, most of which work brilliantly.  Firstly, the use of children.  Liberated from the usual choir corral, the kids come and go, singing and dancing along with the other performers.  Connor also uses kids in character roles: the younger brothers, for example, complete with comedy beards.  This serves as a reminder that the piece was originally conceived as a school play.

Another big change is the expansion of the role of the Narrator.  The mighty Alexandra Burke leads us through the story, with charm, good humour, and above all, that marvellous voice.   Connor also has her don a comedy beard to portray the patriarch Jacob.  Burke does a good job but I miss the old man.  At the show’s climactic point, the father-and-son reunion is therefore diluted, robbing the show of its emotional kicker.  Oh, well.  Burke also takes on the role of seductress Mrs Potiphar – surely there are guidelines about making a pregnant actor work so hard! – She is clearly having a lot of fun in this show, and she handles the crowd like a boss.

As Joseph, rising star Jac Yarrow is instantly appealing, with his boy-next-door good looks, powerful vocals, and broad shoulders.  His Close Every Door  stirs the blood.

Beardless, singleton Joseph is coded as different from his hirsute and married brothers, who soon tire of their father’s favouritism, Jacob’s encouragement of Joseph’s flamboyance —  he may as well wrap the kid in a Pride flag – so they plot to get rid.  This gives us the marvellous country-and-western number, One More Angel In Heaven, complete with a culture-clashing Hebrew hoedown.  The joy of this musical, for me, is Lloyd Webber’s shameless use of pastiche, cobbling different styles of popular music together in his richest, most fun score.

It’s a short show still, having been extended over the years from its school hall origins.  To give it a decent runtime, we get reprises and prolonged dance sequences.  I prefer a leaner version, where we don’t hear the same song twice.

Featuring as the Pharaoh is national treasure, former pop-and-soap star Jason Donovan.  Incredibly, it’s been thirty years since he donned a mullet and a loincloth to give us his pop-oriented Joseph (while Yarrow’s is more musical theatre) and it’s a treat to see him as the King, incorporating Elvisisms into his performance.  Donovan is golden, and there is much love for him in the room, a considerable amount of it coming from me.

The highlight of the second act is the brothers’ French song, Those Canaan Days, a wonderfully camp staging complete with a can-can.  All the dance routines bring a smile.  Joann M Hunter’s exuberant choreography and the cast’s tireless efforts give us much to enjoy, even if it’s chiefly to extend the running time.  The show has more padding than a drag queen’s bra, sacrificing dramatic impact in favour of fun.  But, hey, it IS fun, and fun seems to be this production’s watchword, and there’s nothing wrong with fun.

Yarrow is great, Donovan is marvellous, but if I’m being honest as coconuts, the show belongs to the indefatigable Alexandra Burke in a winning performance that demonstrates her comedic skills as much as her rich, tingle-inducing voice.

A bright and colourful, tuneful treat.

☆ ☆ ☆ ☆☆

Musical Theatre gold: Jason Donovan and Jac Yarrow (Photo: Tristram Kenton)


Go with the Flo

COMING TO ENGLAND

The Rep, Birmingham, Monday 4th April 2022

Much-loved TV presenter and now baroness Floella Benjamin wrote a book about her early life, telling how she and her family came to this country and what happened when they got here.  That book has now been dramatized by prolific children’s playwright David Wood in this musical retelling, taking us back to Trinidad where it all began.  There’s an idyllic tone to these early scenes, in a poor-but-happy kind of way, as Floella and her siblings learn British history at school and sing songs of the empire.  They consider themselves British.  They have a rude awakening coming…

Leading the ensemble cast is Paula Kay as Floella, our narrator, in a captivating performance.  Kay carries the show with an irrepressible portrayal of the presenter as a young girl, and she is ably supported by Yazmin Belo as big sister Sandra, Tarik Frimpong, Jay Marsh, and Dale Mathurin as brothers Roy, Ellington, and Lester.   Kojo Kamara’s Dardie, Floella’s father, plays a lovely saxophone (Mr Benjamin harboured ambitions to be a musician); and Bree Smith exudes warm-heartedness and wisdom as Marmie, the mother – the show is very much a tribute to Floella’s mum, and all those brave women like her.

Upon arrival, the family finds the streets of London are paved with bigots, but despite the harsh reception, they put down roots and begin to make something of themselves.  There is a strong message running throughout: keep smiling, winners smile.

The show touches on Benjamin’s experiences but strangely absent is a scene tackling how she got into television.  The second act opens with an a capella rendition of the theme to Play School and Paula Kay cajoles us into participating in If You’re Happy and You Know It.  And we do, because it’s fun.  But the show keeps something of this patronising tone to the end, exhorting us to shout out and clap, as if we are still young viewers.

Many of the songs you will have heard before.  Island in the Sun, Brown Girl in the Ring… the reggae/calypso flavours of the music provide an irresistible carnival atmosphere, matched by the colourful costumes and giant butterfly props.  Kay treats us to a beautiful rendition of Smile.  Throughout, the ensemble singing is lovely, and there is energetic choreography by director Omar F Okai.

It all breezes along pleasantly, with only passing clouds to mar the experience: the ugly face of racial hatred and prejudice rears up now and then, but Floella learns to smile through it and is indeed an excellent role model.

This colourful, exuberant production is more than the biography of a remarkable public figure.  It is also a lesson in social history, with a message of hope and empowerment for the future.

☆ ☆ ☆ ☆

Paula Kay IS Floella Benjamin. Photo: Geraint Lewis

Oldies and Goodies

DREAMBOATS AND PETTICOATS – Bringing On Back The Good Times

The Alexandra Theatre, Birmingham, Monday 21st March 2022

The third instalment of the trilogy but it doesn’t matter if you haven’t seen the other two.  It really doesn’t.  This one is set vaguely in the 1960s, beginning in St Mungo’s Youth Club in Essex and travelling as far afield as Butlin’s in Bognor Regis, before taking in a selection contest for the Eurovision Song Contest, complete with Kenneth Williams hosting.  Well, a cast member doing a cracking impersonation!

Norman and the Conquests get their big break – summer season in a holiday camp, but guitarist Bobby is more concerned about his girlfriend Laura doing a stint in Torquay.  Norman’s womanising causes friction, so to speak, with his wife Sue.  And Laura momentarily thinks Bobby is at it with Donna, the fitness tutor.  But this is a jukebox musical.  Plot and character development are sacrificed in favour of bunging in as many songs as possible.  Any hint of conflict is soon overcome, and any throwaway line could lead to a full-on production number.  Some of the cues are less tenuous than others, but I do find myself wondering from time to time, ‘why are they singing this now?’

The songs that work best are the ones the characters perform, rather than those that are meant to express their emotional state.  There are quite a few standout numbers: Hang On Sloopy (featuring some killer guitar by Joe Sterling); an a capella rendition of Blue Moon; Laura’s You Don’t Own Me; Mony Mony

David Ribi and Elizabeth Carter make an appealing couple as Bobby and Laura, their harmonising in duets is lovely.  Alastair Hill is suitably predatory as the womanising Norman.  Lauren Anderson-Oakley as his neglected Mrs performs a couple of good numbers but like Ray, band manager and hair dresser (David Luke, also a fine vocalist), has very little to do in this plot that’s thinner than a wafer’s ghost.

Veteran artiste Mark Wynter plays Laura’s manager, later appearing as himself to do a medley of hits including Venus in Blue Jeans, proving he can still carry a tune and move it with the youngsters in the company.  There is supporting character work from Mike Lloyd as holiday club manager and authority figure  Percy Churchill, who also plays a mean trombone, and David Benson as Bobby’s dad, keen to land him a job in the motor trade.    Benson is also responsible for the wonderful Kenneth Williams scene – it’s great to hear the old Crepe Suzette song again.

The script by Laurence Marks & Maurice Gran has a sprinkling of good jokes, bordering on the seaside postcard, but they know we know the dialogue is just an excuse to cue up the next song.  The set, by designer Sean Cavanagh consists of posters and advertisements from popular culture, with illuminated signage denoting changes of location.  The costumes and Carole Todd’s lively choreography serve up the period, while Bill Kenwright’s direction keeps the performers at the forefront.  The cast sing and play instruments live and sound great.

This kind of thing is not really my cup of Horlicks, but it’s cosy, feel-good stuff that’s not going to tax anyone’s intellect, and it’s a fine way to spend an evening in the company of a talented cast, being reminded of some absolute bangers.

Foot-tapping, hand-clapping fun that delivers exactly what it promises without pretension or posturing.

☆ ☆ ☆ ☆

David Ribi and Elizabeth Carter

Band of Brothers

THE OSMONDS – A New Musical

Grand Theatre, Wolverhampton, Tuesday 15th March 2022

Some bands find their back catalogues turned into jukebox musicals.  Others have their life stories dramatized with their own music forming the score to the show.  This new musical about The Osmond Brothers falls into the latter category.  The rags-to-riches storyline is well and truly in place, and you know that sooner or later, the wheels are going to come off.  But will it be drink, drugs, sickness, or even a plane crash that will take the shine off world-wide fame and put the strain on the artists’ personal lives?

Jay Osmond himself has provided the story, formalised into the show’s book by Julian Bigg and Shaun Kerrison.  Onstage Jay (Alex Lodge) narrates the story, from early childhood success as a barbershop quartet on The Andy Williams Show to global acclaim, and the multitudes of screaming fans not seen since The Beatles split up.  Alex Lodge is personable and good-humoured; as Jay he is said to be the ‘glue’ in the family, and he also keeps the show together, in an excellent performance.  We see events unfold through Jay’s eyes, giving the show a ring of authenticity, and a more personal feel.

As the brothers, Ryan Anderson imbues Merrill Osmond with vulnerability; Jamie Chatterton gets across Alan Osmond’s stern leadership; Joseph Peacock’s Donny Osmond, complete with purple cap, sings like an angel about Puppy Love; and Danny Nattrass’s Wayne Osmond also gets his moment to shine in a later, more poignant scene.  Georgia Lennon channels Marie Osmond (the girl one) to perfection; and Austin Riley’s turn as Little Jimmy is absolutely spot on. The young boys who portray the brothers early on are also phenomenal and bring the house down.

Ruling the roost is Charlie Allen as strict disciplinarian father, George Osmond, while Nicole Bryan’s mother Olive brings a warmer style of parenting.  Allen is superb, making George more than a barking bully, a strong man, motivated by love, albeit in a militaristic fashion!

The entire family group go flat out to recreate the spirit of the era, the hit songs, the singing… aided in no small way by Bill Deamer’s 1970s-informed choreography.  Shaun Kerrison’s direction puts the performances at the forefront.  By the time we get to the drama of the second act (the wheels coming off the family business) we have come to love these incarnations of the characters. 

Lucy Osborne’s colourful costume designs evoke the spirit of the age: those white suits, the colours ascribed to each brother… while her set economically evokes tv studios, concert stages, and the family home.

The hits keep coming: One Bad Apple, Let Me In, Going Home, Love Me For A Reason… and, of course, Crazy Horses.  People of a certain age are awash with the nostalgia of it all, but even if you’ve come along and never heard of The Osmonds (how?) you will be swept along by the sheer energy of the staging, the perfection of the harmonies, the irresistible melodies of songs that have stood the test of time, performed here by a flawless cast and a top-notch live band.

There is a lot of humour too, and some touching moments of drama as tensions within the family reach breaking point.  There’s a glorious moment where Jay is introduced to a fan who wrote endless letters thirty years ago, which sums up our experience of the show.  Well, mine anyway.  I was fortunate enough to meet the real Jay Osmond during the interval, and I did my level best not to keel over in a faint.

A joyous, exuberant and heart-warming show, chronicling a moment of popular culture – well, fifty years in the business, and then some!   Ultimately, it’s a testament to what The Osmonds did best, and that’s entertainment. Musical theatre has got a second show about Mormons, and this one’s a party!

☆ ☆ ☆ ☆ ☆

Photo: Pamela Raith