Tag Archives: Birmingham Hippodrome

The Glory of Gloria

ON YOUR FEET!

Birmingham Hippodrome, Wednesday 4th September, 2019

 

This biographical show tells the story of Gloria Estefan’s rise to fame, from humble beginnings as a Cuban immigrant living in Miami to world-renowned music star.  As far as stories go, it’s pretty straightforward: girl meets musician boy, she fronts his band, they make records, overcome the prejudices of the music industry, hit the big time… It seems quite an easy ride with very little conflict.  There’s some argy-bargy with her mother, who is supposedly envious of her daughter’s career having lost out on her own big chance…

As the show goes on, you come to think, the plot is not the point here.  The point is the performance.  It’s an absolute party of a production right from curtain up.  The energy blasts from the stage and does not let up.  It’s bright and breezy, colourful and cheery, and we are reminded how many hits she (and the Miami Sound Machine, who hardly feature) had.  Dr Beat, 1-2-3, Anything For You…

Heading the cast is Philippa Stefani as Gloria and she is, well, glorious, bringing a Cinderella quality to the role, as Gloria (quickly) overcomes her initial shyness, learns to stand up for herself, and conquer the world.  Stefani is paired with George Ioannides as husband-mentor-business manager Emilio Estefan, a passionate advocate of Gloria’s music, a charming, handsome presence, with some ‘amusing’ linguistic blunders.

Also strong is Madalena Alberto as Gloria’s strident, stubborn mother, and there is fine comic character acting from Karen Mann as Gloria’s abuela, Consuela.  (There is a bilingual aspect to the dialogue, with Spanish phrases translated into English, a bit like Dora The Explorer.)   Robert Oliver also makes an impact as record executive Phil, who overcomes his reluctance when the money starts rolling in.

The bus crash that almost ended it all for Gloria leads to the emotional heart of the piece, not so much her brave fight back to full mobility, but the reappearance of her estranged mother at the hospital.  A flashback scene to Cuba, before the family fled to the US, attempts to add a bit of depth and historical context, but doesn’t really go anywhere.

On the whole, this is light-hearted, easy-going, undemanding fare.  The book, by Alexander Dinelaris, contains some amusing exchanges, and keeps the action zipping along from hit to hit.  Inevitably, the show is at its best during the musical numbers.  The Latin arrangements are infectious, the singing and dancing are top notch – although I find some of the male vocalists a bit shouty.  This is proper feelgood stuff, a surge of sunshine in these benighted times.  The Rhythm is Going To Get You is not an empty threat.  You will get off your arse and on your feet.

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Philippa Stefani and George Ioannides as the Estefans (Photo: Birmingham Hippodrome)

 

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Gang Show

WEST SIDE STORY

Birmingham Hippodrome, Thursday 29th August, 2019

 

For the first time in its illustrious 120-year history, Birmingham’s Hippodrome theatre is producing its own youth-group musical.  The Bernstein-Sondheim masterpiece is an ambitious choice but it is soon clear that the cast of 40+ young people is more than up for the challenge.

Director-choreographer Matt Hawksworth harnesses the abundance of talent so that it showcases the considerable strengths of the performers, while ensuring creative decisions keep the power of the material to the fore.  It does get off to a bit of a bitty start, though, with some pre-show milling around while the audience comes in, when a clean opening would have more impact, but once the show gets properly underway, and the action is properly focussed, it’s a compelling, emotional piece of theatre.

Matthew Pandya makes an impact as Jets-leader Riff, brimming with attitude.  Fellow gang member Action (Brook Jenkins) comes into his own for Gee Officer Krupke.  In the Sharks, Gibsa Bah is an imposing Bernardo, with Carter Smith on good form as his lieutenant Chino.

Ruby Hewitt’s Anita is remarkable: humorous, sassy, worldly, warm-hearted, vulnerable, in a hugely satisfying portrayal.  There is also some fine character work from Hannah Swingler as drugstore proprietor Doc, despairing at the conduct of the hoodlums.

The show, of course, pivots on its main couple.  Kamilla Fernandes is a knock-out as Maria, going from sweetness and innocence to embittered fury and emotional devastation by the conclusion of the story’s tragic events.  Her scenes with Hewitt’s Anita are where the dialogue really comes to life.  At other points, the quickfire lines of Arthur Laurents’s arcane slang, get a bit lost, especially in large group scenes: the acting needs to be as taut as the singing and the choreography.

The evening belongs, though, to an absolutely stellar performance from sixteen-year-old Alex Cook as Tony.  His two big solos in the first act are goosebump-inducing marvels, as Cook demonstrates perfect control of his voice and his thorough understanding of the character’s mind.  The skill on display is staggering, and the emotional punch of the playing earns him a round of applause that stops the show.

What comes across as much as the talent and energy of the cast, is the power of the material.  Shakespeare’s plot, translated to 1950s New York, is rife with issues still prevalent to this day: knife crime, the disaffection of youth, divisions in society, anti-immigrant prejudices… and the sumptuous score of Leonard Bernstein coupled with the wit and mastery of Stephen Sondheim’s lyrics, reminding us why West Side Story is one of the greatest musicals of all time.   An excellent choice, yielding a potent production.

Let’s hope we don’t have to wait 120 years for the next one.

Kamilla Fernandes and Alex Cooke Credit Olivia Ahmadi

Two stars are born: Kamilla Fernandes and Alex Cook (Photo: Olivia Ahmadi)


Glowing Colours

THE COLOR PURPLE

Birmingham Hippodrome, Tuesday 16th July, 2019

 

Alice Walker’s Pulitzer prize-winning novel of 1982 was brought to the silver screen three years later by Steven Spielberg.  Now it arrives on the Birmingham Hippodrome stage in a brand new production of the Tony award-winning musical, with book by Marsha Norman and music and lyrics by Brenda Russell, Allee Willis and Stephen Bray.  It’s a landmark production: the first co-production between the Hippodrome and Leicester’s Curve theatre and, for the first time out, it sets the bar impossibly high.

The ticket gives a heads-up that the show ‘contains themes of Rape, Abuse, Incest, Overt Racism and Sexism’ and you wonder how depressed you’re going to be by the curtain call.  It is surprising how many laughs there are in it!  Spanning the first half of the twentieth century, the story tells of the terrible tribulations of Celie (T’Shan Williams) whose wicked stepfather impregnates her twice and takes her newborns away.  Celie is palmed off to abusive widower ‘Mister’ (Ako Mitchell) to serve as wife, mother to his kids, and general dogsbody – little better than a slave, in effect.  Adding to the pain is forced separation from beloved sister Nettie (Danielle Fiamanya) and that’s just the start of Celie’s troubles…

The entire cast excels.  The score is gospel- soul- and jazz-infused, punctuated by some show-stopping numbers.  T’Shan Williams is astonishing, bringing the house down with her solos, without being overly melodramatic in her dramatic scenes.  Her Celie has dignity to make the size of her heart and the indomitability of her spirit.  There are some crowd-pleasing moments of defiance that elicit electrified responses from the audience.  Danielle Fiamanya is warm and passionate as Nettie, and there’s a performance that threatens to steal the show from Karen Mavundukure as the ferocious but hilarious Sofia.  Joanna Francis brings glamour and a touch of the Blues as itinerant singer Shug Avery, and there is humour courtesy of Simon-Anthony Roden’s henpecked Harpo, the perfect contrast to the domineering, bullying male figures of Mister and Pa.  Perola Congo adds to the fun as would-be singer Squeak.

Delroy Brown is perfectly monstrous as the tyrannical stepfather, while Ako Mitchell’s Mister goes through a transformation that demonstrates that old attitudes and behaviours are not written in stone.  There is hope and the possibility of redemption.

Alex Lowde’s walled set with its pair of doll’s-house openings allows a swift and slick change of locations, with superbly realised costumes assisting the passage of the years.  Director Tinuke Craig leavens the dark themes of Walker’s tale with humour, exuberance and vitality, making us care about these characters from the off.  The emotional resolution jerks tears from every eye in the house.   One of the most heart-warming and uplifting theatrical experiences I have had the pleasure to experience.  By the time I leave the building, my hands are the colour red.   Magnificent!

The Color Purple_Karen Mavundukure (Sofia)_Photography by Manuel Harlan

A rare moment of quiet for Karen Mavundukure as Sofia (Photo: Manuel Harlan)

 

 

 


Dreamy

JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT

Birmingham Hippodrome, Wednesday 3rd July, 2019

 

The only problem with this show, the first collaboration between Tim Rice and Andrew Lloyd Webber, is its brevity.  Having start out as a 20-minute piece for a school assembly, the running time has been expanded by the addition of new songs in order to reach a more conventional length for a night out at the theatre.  Some of the additions add little more than repetition.  We get previews of songs before they appear in the storyline.  We get reprises and reprises.  Joseph’s coat begins to feel like a padded jacket.

But beneath the padding, there is the kernel of brilliance.  Rice’s witty lyrics and Lloyd Webber’s score of many colours are at their finest here.  Name another Lloyd Webber show that has such a range of melodies.  Answers on a postcard, please.

The show hinges on its leading man and here, in Jaymi Hensley, it has one of the best I’ve seen.   Hensley’s vocals are richly textured and infused with emotion.  His Close Every Door is breath-taking – it’s the show’s best number and, mercifully, is not reprised to death.  Hensley’s acting matches the quality of his singing.  He is expressive and funny, his reactions fleshing out the part: some Josephs can be arrogant and smug; Hensley combines strength with vulnerability.  He also looks great in the loincloth.

As the narrator, Trina Hill is at her best when belting out, rock-star style.  At times she is swamped by the action and you wonder where her voice is coming from.  Andrew Geater’s Pharaoh replicates Elvis’s intonations – to the point of losing a little clarity.  Even Joseph has to ask him to repeat himself.  Geater pulls it off through energy and commitment.  (At the time of the original production, Elvis was very much still in the building, and the show pastiched popular music genres of the day.  Now its references may be dated, and its satire diminished but it’s still a lot of fun.)

Henry Metcalfe is not only a dignified Jacob and an elegant Potiphar, he also choreographed the production.  With new moves by Gary Lloyd, the dancing is slick, sharp and funny too.  The pas de deux in Those Canaan Days is as impressive as it is anachronistic.  Mrs Potiphar (Amber Kennedy) is a glamorous cougar, stalking her prey.  It’s the anachronisms that make the show endearing and somehow timeless.  The French ballad, the cowboy song, the calypso.  This show is bonkers.  Some might say post-modern.

Among the lyrical and musical wittiness, the power of the story comes through.  The reunion scenes have the power to move – director Bill Kenwright wisely includes moments of silence as events impact on the characters, and Hensley’s Any Dream Will Do, when it is performed in the context of the story, is a tear-jerker.

This production does the material justice, with a superlative ensemble of brothers, wives, and a highly disciplined children’s choir.  But it’s Hensley’s star that shines brightest.

Dreamy.

Jaymi Hensley (Joseph) - Joseph & The Amazing Technicolor Dreamcoat - UK Tour (096_96A0754) - Pamela Raith Photography

Dreamboat: Jaymi Hensley as Joseph (Pamela Raith Photography)


Naked Ambition

CALENDAR GIRLS – The Musical

Birmingham Hippodrome, Tuesday 28th May, 2019

 

First came the calendar, then the film, then the play, and now this musical version.  Original writer Tim Firth has teamed up with Gary ‘Take That’ Barlow to rehash the true story of a group of women whose charity calendar turned heads and raked in the dosh thirty years ago.

If this piece is anything to go by, the Yorkshire village of Knapley is inhabited by a homogenous bunch of deadpan Northern charmers, the women are almost uniformly blonde and the cuddly men are interchangeable.  It’s a bit Stepford Wives, but funny.  There are so many characters it takes a while to get a handle on who they all are.

When Annie’s husband’s cancer treatment fails to save him from the disease, her mates at the local Women’s Institute rally in support.  Best mate Chris (Rebecca Storm) comes up with the idea of a nude calendar – in the best possible taste, of course – and some of the women require more persuasion than others.  It’s a long time coming but the best scene of the night is the taking of the photographs, posed with some carefully placed props: plates of cakes, balls of knitting, all the accoutrements of the WI.  While other scenes are mildly amusing, the photo-shoot is the highlight and brings the house down.  It’s a moment of rejoicing, as the women celebrate body positivity and have a reet good laugh while they do it.  It’s like The Full Monty without the social commentary or the economic imperative.

Sarah Jane Buckley heads the ensemble as the eventually-widowed Annie, a more staid counterpart to her best mate Ruth.  Single parent Sue Devaney has the best singing voice but the Christmas Carol medley she has to belt out is a let-down: it’s just unfunny.  Lesley Joseph is in her element as retired schoolteacher Jessie, supposedly respectable but game for a laugh when the crunch comes.  Lisa Maxwell is suitably cocksure as the surgically enhanced Celia, and Danny Howker has some very funny moments as inexperienced teenager Danny – it’s a strong cast without exception but all the while I’m thinking they would be better served in the straight play version.

Barlow’s songs are serviceable but hardly memorable.  Rather than adding depth to the piece, what they bring is length.  Firth’s script aspires to but doesn’t quite reach the genius of the late, lamented Victoria Wood, using the bathos of domestic details to bring out the emotions of particular moments.  Contemplating her husband’s death, Annie wonders who’ll take her to Tesco and argue about margarines with her.

The heart-warming story survives this treatment, and is still a crowd-pleaser to be sure, but (producers, take note) not every bloody film needs to be turned into a musical.

Calender Girls Tour

The Cast

 


Yes, Queen!

ROBERTO DEVEREUX

Birmingham Hippodrome, Friday 8th March, 2019

 

Loosely inspired by English history, this story of one of the favourites of Queen Elizabeth begins with an overture that includes a sinewy rendition of ‘God Save The Queen’, quite anachronistically, before building up to a frenetic series of crashing chords; conductor Carlo Rizzo throws himself around energetically.  It’s an exhilarating opening.

Elizabeth loves Roberto, but Roberto loves Sara, wife to his best mate, the Duke of Nottingham.  Roberto stands accused of treason but Elizabeth offers him a get-out-of-jail-free card.  He can go free if he names her rival for his affections.  Roberto would rather die than put Sara in the frame.  There’s some business with love tokens (a ring from Elizabeth, a scarf from Sara) and the Duke of Nottingham rumbles what’s going on…

Director Alessandro Talevi eschews the grandeur of the Elizabethan court and sets this love quadrangle in a dark world of shadows and screens.  Elizabeth keeps a spider in a tank – perhaps this signifies her treatment of Roberto, keeping him as an exotic pet but one that can bite… Later, it emerges that it is she who is the spider, as she careers around in a chariot like a giant robotic arachnid.  Talevi brings surprises to the melodrama.  The bald queen stalking around on mechanical legs while her favourite languishes in prison, caught in scarlet strands – his entanglement in the web of Elizabeth’s emotions.

Elisabetta

Elisabetta (Joyce El-Khoury) Photo: Bill Cooper

Joyce El-Khoury is magnificent as the tyrannical queen, giving us the regal power of the monarch and the volatile emotions of the woman.  She commands the attention whenever she is on – not just because she is a splash of vibrant colour in an otherwise monochromatic setting.  Also strong is Justina Gringyte as the noble, distressed Sara, fighting her feelings for Barry Banks’s robust Roberto.  Roland Wood’s passionate Duke, pleading for the life of his friend is lovely stuff.

The marvellous WNO chorus have their moment in the spotlight with a solemn, hymn-like piece, while the orchestra play Donizetti’s stirring score with verve and beauty.  Madeleine Boyd’s design work owes more to the 19th than the 16th century, with a touch of Vivienne Westwood and Jules Verne thrown in.  It’s all very stylish, a world with its own rules rather than any attempt at historical reconstruction.

This is a striking, powerful production with a tour de force performance by El-Khoury at its heart.

Majestic.

Roberto-Devereux-Barry-Banks-Roberto-Devereux-549x357

Roberto Devereux (Barry Banks) gets caught up in red tape (Photo: Bill Cooper)

 


Bells and Whistle

THE MAGIC FLUTE

Birmingham Hippodrome, Thursday 7th March, 2019

 

I jumped at the chance to see this production again, having first enjoyed it a couple of years ago.  Director Dominic Cooke sets the action in a box, with walls the colour of a Magritte sky and sets of doors that lend an almost-farcical aspect to proceedings.  The influence of Magritte does not stop with the sky; Sarastro’s cult members all sport bowler hats and coats very much akin to the famous surrealist painting – you know the one, where the man has an apple for a face.

In this box, Mozart’s divine music and Schikaneder’s amusing libretto (here presented in a superlative translation by Jeremy Sams, complete with rhyming couplets) combine to tell the story of a young Prince on a fairy-tale quest to save a Princess.  From the opening moments, with a giant lobster trying to grab him with its claws and the arrival of the Three Women, the stage is set for a lot of fun.  The Three Women (Jennifer Davis, Kezia Bienek, and Emma Carrington) are a collective hoot, and Cooke gives them plenty of comic business as they vie with each other over the unconscious Prince.  Ben Johnson’s Prince Tamino is dashing and forthright, singing beautifully, as when he falls in love at first sight of Pamina’s portrait.

Stealing the show in every scene he’s in is Mark Stone, hilarious as the bird-catcher Papageno.  In some productions, the dialogue scenes can be clunky and awkward, but in the hands of someone like Stone, they are a delight.

Soprano Anna Siminska is a powerful Queen of the Night.  Her second, most famous aria brings the house down.  Her oppo, high priest Sarastro, is her polar opposite.  While Siminska hits her Top Fs with piercing accuracy, Jihoon Kim gets to his Bottom Fs, but could do with a bit more power behind them.  Kim makes a striking figure as the cult leader; Sarastro’s rules for the way women ought to behave can seem problematic, but his solos are exceedingly beautiful.

Anita Watson makes a perfect fairy-tale princess as a heartfelt Pamina.  Her aria when she believes Tamino is shunning her remains one of the most heartrending moments in any opera, and Watson delivers the goods impeccably.

This is a production that doesn’t get bogged down by the pomp (and pomposity) of Sarastro’s order, with plenty of laughs throughout, both from the script and from the direction.  What happens when Tamino plays his flute or when Papageno plays his magic bells is charming and funny.

Inevitably, the star is Mozart.  His music adds humour, pathos, and, yes, holiness to the characters in this quest for love.  The opera is a plea for the end to hatred, for living in peace, a message that we need to hear in these nasty-minded times.

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Tamino (Ben Johnson) finds his lobster undercooked (Photo: Bill Cooper)