Tag Archives: musical

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)

Beauty and More Beauty

Disney’s BEAUTY AND THE BEAST – The Musical

Birmingham Hippodrome, Wednesday 9th March 2022

Disney’s best musical is back, touring stages across the country in this revamped production that pulls out all the stops to impress.  New sets and costumes dazzle and delight while remaining faithful to the original animated film, and all in service of the story.  For example, the wolf attacks are represented here by some rather scary animations, rather than the dancers in furry headpieces and leg warmers of yesteryear!  This is a production that uses bang up-to-date theatrical technology to deliver the goods, and boy, does it deliver!

Leading the cast in this performance is Grace Swaby-Moore as bookish, beautiful Belle, whose voice soars with clarity and purity befitting her character.  She is more than matched by Shaq Taylor as the Beast, who manages to be intimidating, funny, and sympathetic all at once.  He too has a rich singing voice, and his solo to close the first act is stirring stuff.  It’s genuinely heart-warming to watch these two fall in love.  I might be a little in love with Shaq Taylor, I freely admit.

A superb supporting cast keep the entertainment levels consistently at ten.  Tom Senior’s vain and posturing Gaston is a hoot, forming a hilarious double-act with diminutive sidekick Le Fou, played by Louis Stockil, who is like a living cartoon character with energetic physical comedy and facial expressions that are purely delightful.

Gavin Lee’s louche Lumiere with his deadpan French accent is perfect — no one can hold a candle to him! — while Nigel Richards’s tightly wound Cogsworth is as charming as he is overwrought.  Samantha Bagley’s Madame, half-woman, half-armoire, is a marvellously funny piece of character work.  Sam Bailey’s gorblimey Mrs Potts the teapot, is sweet; her rendition of the title song while the title characters dance is a goosebumps moment I will never forget.

There are massive production numbers:  Be Our Guest is a Busby Berkeley fever dream that brings the house down.  Gaston is exhilarating.  And the solo numbers are to die for.  And you never feel as though the songs are getting in the way of the story.  In fact, everything you see and hear is in service of the storytelling, which is what Disney does best. It’s fantastic to have a sizeable live orchestra playing the melodious, atmospheric score, under the baton of MD Jonathan Gill. It’s not every production that can afford such extravagance.

You can be as cynical as you like about the Disney money-making machine throwing money at the stage to make more money, but it’s the material that makes the show a classic.  Chiefly the score by Alan Menken and the lyrics by the late Howard Ashman.  This pair also created Little Shop Of Horrors, and brought their musical theatre sensibilities to the animated film.  Therefore it’s a good fit for a stage adaptation, rather than being a story with some songs bunged in.  There is a message about not judging by appearances but this is never forced or overemphasised.

The fairy tale magic is in full-force tonight, and it still gets me right in the feels no matter how many times I see it and it’s a real treat to fall under its upgraded spell.  This funny, beautiful, exciting, romantic, spectacular and uplifting production is just what we need.  Like Belle’s beloved books, the show takes us away from our present woes.  I’m afraid it’s a case where five stars don’t seem like nearly enough.

☆ ☆ ☆ ☆ ☆

The clock, the pot, and the candlestick: Nigel Richards, Sam Bailey, and Gavin Lee (Photo: Johan Persson © Disney

Neverland Side Story

BAT OUT OF HELL

The Alexandra Theatre, Birmingham, Tuesday 4th January, 2022

The mighty Jim Steinman’s contribution to the jukebox musical genre strings together songs made famous by Meat Loaf, Steinman himself, and even Celine Dion.  Each number is a mini rock opera in itself, but Steinman’s plot borrows heavily from Romeo & Juliet and also Peter Pan & Wendy, I kid you not.  Set in a post-apocalyptic world where chemical warfare has mutated some of the population into eternal 18-year-olds, (The ‘Lost’) who are very much the have-nots in this society, and the haves, represented by bigwig Falco and his family, their building towering over the landscape.  Lost boy Strat falls for Falco’s daughter, Raven, and their relationship gives rise to conflict.  There’s a nurse character too – Joelle Moses’s Zahara – and there’s also a Tink(erbell) whose jealousy of Strat/Peter and Raven/Wendy’s relationship leads to a betrayal, with Falco/Capulet/Captain Hook bent on destruction of the Lost (Boys).  Curiously, Steinman’s song, Lost Boys and Golden Girls is absent from the score…

As leading man Strat, Glenn Adamson is a firecracker of energy with a powerful rock voice.  He has a tendency to take his top off, Iggy Pop-style (something which Meat Loaf never did).  Also strong is Martha Kirby’s Raven.  Her rendition of Heaven Can Wait is superb.  Unfortunately, the staging dilutes its impact.  Much of the action is performed to camera and projected onto screens built into the set, and so, rather than having Kirby singing directly to the audience, she stands in an interior portion of the set facing away; yes, we can see her clearly on the screen, but the device serves to keep us at a remove from the emotional power of the song.

The live camera feed sometimes lends a rock video aspect to proceedings.  At others, it’s a bit like reality TV.  Mostly though, it’s intrusive and distracting, an example of the production getting in its own way, which happens now and then.

That apart, there is a lot to enjoy.  The singing is top notch from everyone in this exuberant ensemble.  Highlights for me include Joelle Moses and James Chisholm’s Two Out of Three Ain’t Bad.  Later, their Dead Ringer For Love generates a party atmosphere.  Martha Kirby’s It’s All Coming Back To Me Now is impressively emotive.  This power ballad becomes a delicate quartet when Adamson joins in, along with Rob Fowler and Sharon Sexton as Raven’s parents. Fowler and Sexton deliver the disillusionment and bitterness of the failing marriage of Falco and Sloane.  Fowler is hugely enjoyable as the villainous patriarch, and he too is prone to getting his top off.  Iggy Pop has a lot to answer for.  Sexton’s Sloane starts off amusingly sloshed, but the characterisation is not without vulnerabilities and depths.

The absolute pinnacle of the show is the title track, which brings the first act to a stunning climax.  Staged and sung to perfection, this is quintessential Steinman, big and brash, and heartfelt and overblown, and just sensational.

The dialogue is melodramatic and is declaimed in a heightened style.  It could do with more laughs, but Steinman’s anthemic tunes and the gothic poetry of his lyrics prove irresistible and more than compensate for the shortcomings of the script.  It’s rousing stuff and the cast sing their heads off, with energy that’s more infectious than a covid variant.  Steinman was a genius as a songwriter and this searing, soaring show reminds us unequivocally of that.

☆☆☆☆

Glenn Adamson as Strat and Martha Kirby as Raven (Photo: Chris Davis)

Piece of Work

9 To 5

The Alexandra Theatre, Birmingham, Tuesday 16th November, 2021

Colin Higgins’s 1980 film came out when the world of work was very different.  The story of three secretaries who take on their sexist boss and change working conditions within a corporation now plays out like a period piece.  One of the film’s stars, Dolly Parton, provides the songs for this stage musical adaptation, introduces the action and gives a bit of narration via video.  Video Dolly even sings the opening number, the famous title song, with the entire company joining in.  It’s a rousing start and the best song in it.

Things soon slow down as characters are introduced.  And they each must get their solo, slowing down the action.  The women’s revenge fantasies about their sleazy boss become reality and what should be fast-paced farce is hampered by more songs and soul-searching.

Leading the cast is Louise Redknapp, flexing her comedy chops as Violet, the most straight-laced of the trio.  Redknapp is in good voice and gives an assured performance while Stephanie Chandos’s Doralee Rhodes inevitably channels Dolly P, to amusing effect.  Funniest of the three is Vivian Panka as new girl Judy, whose sweetness and naivete are swept aside when events get out of control.  When all three sing together, the harmonies are wonderful.  It sounds like Redknapp has found herself another girl band!

As the sleazeball Mr Hart for this performance, Richard Taylor Woods is deliciously abhorrent, although perhaps he’s too fit for the role. Give Hart a beer belly and a combover to make him thoroughly repugnant, I say! This would certainly heighten the contrast between Hart and Violet’s handsome love interest, Joe (Russell Dickson).

Julia J Nagle is in excellent form in a show-stealing portrayal of the sexually frustrated office snitch Roz, with a hilarious song about her lust for the boss.  It’s a pity Roz is exiled for most of the second act. 

But no matter how expertly the musical numbers are staged and how energetically they are performed by the hugely talented cast, what we get is a stop-start farce with some very funny scenes, interrupted by introspective songs that are tonally at odds with the comedy.  What it has to say about sexual equality and harassment in the workplace has been, largely, overtaken by the real world, so the piece is no longer a clarion call.  The women resort to kidnap to get their way, reminding us that many of our rights have been fought for by direct, often criminal, action.  Think of the Suffragettes.  And Stonewall.

Not every film has to be adapted into a musical.  This one would work just as well, if not better, as a play.

★★★

On the job: Sean Needham and Stephanie Chandos (Photo: Pamela Raith Photography)

Magic with Knobs On

BEDKNOBS AND BROOMSTICKS

The Alexandra Theatre, Birmingham, Thursday 11th November, 2021

Fifty years after its release, the Disney film gets a stage adaptation, and I approach it curious to see how certain key scenes will be performed (the underwater scene, the football match, the flying bed…)  From the off, you can see we are in safe and creative hands.  The show opens with an extended dumbshow sequence, detailing the wartime experience of the Rawlins children and their evacuation to the countryside… Hold on a minute: orphans evacuated to go and live with an eccentric, and end up having magical adventures….  Isn’t that The Lion, The Witch and the Wardrobe

In this case, the eccentric who takes in the children is apprentice witch, Eglantine Price, who has learned her spells from a correspondence course.  Price is played by a superb Dianne Pilkington, who makes the role her own — there’s not a trace of Angela Lansbury to her portrayal.  An early scene when she attempts to fly on her mail-order broomstick while singing is especially funny.  Pilkington is excellent throughout.

Members of the chorus bring on and take off pieces of scenery, items of furniture and props.  The action is constantly flowing, with physical theatre helping to create effects like the bobbing along under the beautiful briny.  Cinematic effects are translated to stage magic, with illusions and puppetry coming to the fore, so that characters can be turned into rabbits and so on.  Directors Candice Edmunds and Jamie Harrison really flex their creative muscles to deliver the magic, in this inventive and delightful piece of storytelling.

Most of the songs from the film are here; ‘The Age of Not Believing’ remains one of the Sherman Brothers’ loveliest songs, and there are new songs by Neil Bartram which have a strong Sherman Brothers feel to them.  Brian Hill’s book gives us the key plot points, with only a few alterations.  On the whole, it works brilliantly, but I find it begins to sag in the second act.  An example is Professor Browne (a splendid Charles Brunton) singing new number, ‘It’s Now’ in which he steels himself to take action, but only succeeds in slowing the action down!   Hill also gives the story a different ending.  I won’t say what it is but if you’ve seen the film version of another Sherman Brothers musical (the one about the flying car) you’ll know how this one pans out.

The underwater scene is there, tick box.  Obviously, the football match doesn’t happen, but I would like more animals populating the island.  And the bed is a marvel.  There are many moments when you think ‘That’s clever’ and ask, ‘How are they doing that?’ — the show is as much about the magic of theatre as anything else (like turning to your imagination to get you through the tough times).

A hard-working chorus keeps things moving, including the wonderful puppets, And there is also some amusing character work from Susannah Van Den Berg as Mrs Mason and Jacqui Dubois as Mrs Hobday.  Conor O’Hara, as eldest child Charlie, has a gorblimey accent but it’s not as strong as the one in the film so don’t worry.  O’Hara has a powerful singing voice and delivers the emotional punch Brian Hill gives him.  Charlie’s siblings (played, I think, by Isabella Bucknell and Haydn Court at this performance.  Correct me if I’m incorrect!) also give assured performances.

It’s a magical night out for the family even if it does run a bit long, past younger ones’ bedtimes.   It’s high-quality fun that will engage your imagination and touch your heartstrings, but not pluck them out!

★★★★

Giving it some stick: Dianne Pilkington as Eglantine Price. Photo Credit: Johan Persson/


Elephant in the Room

THE MAGICIAN’S ELEPHANT

Royal Shakespeare Theatre, Stratford upon Avon, Wednesday 10th November, 2021

It’s fantastic to be back in the RST, as it reopens with this year’s big family show, based on the Kate DiCamillo novel. Young Peter Duchene visits a fortune teller who intrigues him with a reading involving his presumed-dead sister and an elephant. Next thing you know, an elephant is dropping through the roof of the opera house in a conjuring trick gone wrong—don’t you just hate it when that happens? Peter sees this event as a sign that his entire life has been a lie and sets out to face the elephant and learn the truth…

Holding things together is Amy Booth-Steel as an affable Narrator, breaking the fourth wall with such charm we don’t want to sue her for the damage.  A strong ensemble includes delightful turns from Forbes Masson as a tightly wound, paranoid Police Chief, his underlings tumbling around him like Keystone Kops; Marc Antolin and Melissa James evoke empathy as childless couple Leo and Gloria; Sam Harrison’s fruity Count; Alastair Parker’s bumbling magician; Miriam Nyarko’s energetic orphan Adele; and Mark Meadows as Peter’s guardian, former soldier Vilna Lutz whose PTSD is startling, to say the least.

Villain of the piece is the mighty Summer Strallen’s Countess Quintet, who gets the most outlandish costumes.  Strallen channels Queen Elizabeth from Blackadder II and Cruella de Vil, with shades of Mozart’s Queen of the Night in her decorative vocal work.  It’s a stonking characterisation.

The Elephant itself is from the War Horse school of puppetry, with three operators bringing life to the pachyderm.  The scale of the beast is impressive but more so is the way it ‘lives’; there is grace to this animal and sorrow.  There is undeniably an elephant in the room with us.  It’s a captivating creation, skilfully performed by Zoe Halliday, Wela Mbusi, and Suzanne Nixon.

Giving a phenomenal performance as protagonist Peter is the elfin-featured Jack Wolfe, giving the role a quirky youthful energy, who is nothing short of perfection.  Instantly endearing, Wolfe is a true knockout when he sings, demonstrating beautiful vocal control and an impressive range.  You get the feeling you’re watching someone who is going to become a massive star.

With book and lyrics by Nancy Harris, and music and lyrics by Marc Teller, the show captures the tone of DiCamillo’s wonderful book. Colin Richmond’s design work delivers the grim, grey city of Baltese, with atmospheric lighting by Oliver Fenwick. It’s Sarah Tipple’s direction that makes us identify with, laugh at, and feel for the cast of offbeat characters, playing the humorous notes broadly and the emotional points deftly. The score is reminiscent of Sondheim and Gilbert & Sullivan and is performed by a tight band under the musical direction of Tom Brady.

It all adds up to a hugely entertaining piece, that speaks to us of people in strange times looking for answers (and not always in the right places), of hope, of the things that unite us rather than those that divide.

Beautiful.

★★★★★

Trunk Call: Peter (Jack Wolfe) visits the Elephant. Photo: Manuel Harlan © RSC

Still Holding Up

HAIRSPRAY

Grand Theatre, Wolverhampton, Tuesday 19th October, 2021

Based on the 1988 film by self-proclaimed Pope of Trash, John Waters, this exuberant musical is doing the rounds again.  Admittedly, the source material is Waters’s most mainstream movie, but writers Mark O’Donnell and Thomas Meehan retain much of the flavour of the original, especially the outlandish cast of characters.  I’ve lost count of how many times I’ve seen the show now but each time I’m struck by how brilliant it all is.

It’s 1962 and teenager Tracy Turnblad, whose heart is even bigger than her dress size, auditions to be on the local hip TV show.  She witnesses the injustice of segregation in her hometown of Baltimore and unlike most people, goes all out to do something about it.  Making her professional debut in the role is Katie Brace and she’s absolutely phenomenal.  An irresistible stage presence, Brace brims with talent and humanity.  Tracy is the closest John Waters gets to a Disney heroine.

Continuing the tradition of casting a man in the role of Tracy’s mother Edna (in honour of Divine who originated the character) we are treated to the comedic stylings of Alex Bourne, a big fella whose Edna is full of sass and vulnerability.  The show is not only about the fight for civil rights.  With the Turnblad girls, it has a lot to say about self-acceptance and body positivity.  Bourne is marvellous and he’s partnered with Norman Pace as Tracy’s dad Wilbur.  Pace’s comic business befits joke-shop proprietor Wilbur.  His duet with Edna brings the house down.

The emotional core of the show belongs to Brenda Edwards as Motormouth Maybelle.  The song I Know Where I’ve Been is a searing civil rights anthem, lifting the show beyond its comedic shenanigans.  It’s a blistering moment in a score that is bursting with great songs, from the opening number to the rousing, joyous finale, You Can’t Stop The Beat.  Marc Shaiman’s melodies are infectious, and his lyrics (co-written with Scott Whittman) are witty and knowing. Excellent as the villains of the piece are Rebecca Thornhill as the bigoted Velma Von Tussle and Jessica Croll as her shrill daughter, Amber.

Making strong impressions among a hugely talented cast are Charlotte St Croix as Little Ines, Akeem Ellis-Hyman as the sinuous Seaweed, Richard Meek as the cheesy TV host Corny Collins, and Rebecca Jayne-Davis as Tracy’s eccentric best friend Penny Pingleton.  Ross Clifton’s Link Larkin, Tracy’s love interest, is suitably swoonsome, and there is strong support from Paul Hutton and Ceris Hine as a range of authority figures (teachers, prison guards etc).  But truly, the entire cast is magnificent, in great voice and expending vast amounts of energy executing Drew McOnie’s period-inspired choreography.

Of all the musicals currently doing the rounds, this is the one to see.  It’s a perfect show, funny and relevant, with an important message about inclusivity that it delivers with wit and style.

This is powerful, life-affirming stuff and no matter how many times I see it, Hairspray still holds up.

*****

Brenda Edwards sings the house down as Motormouth Maybelle (Photo: Mark Senior)

High Hopes and High Heels

EVERYBODY’S TALKING ABOUT JAMIE

The Alexandra Theatre, Birmingham, Tuesday 14th September, 2021

Based on a true story, this musical by Dan Gillespie Sells and Tom Macrae centres on 16-year-old Jamie New, on the cusp of leaving school and becoming who he wants to be (which is not a forklift driver, as the careers service suggests).  Jamie wants to be a drag queen, a noble profession indeed, but he faces resistance from—well, he doesn’t face all that much resistance to be honest.  His mum (Amy Ellen Richardson) couldn’t be more supportive (she buys him his first pair of high heels), nor could his best friend Pritti, and he soon finds an ally and mentor in Hugo the proprietor of the local drag shop (every town has one, right?).  There is some conflict when Jamie learns the birthday cards he’s been getting for years haven’t really come from his estranged dad, but Jamie seems more than capable of standing up for himself.  School bully George Sampson can barely get a word out, in the full glare of Jamie’s devastating wit.  Jamie plans to wear a dress to the prom (We didn’t have proms, we had school discos) and to prepare for this he performs his first drag show at the local drag club.  Which seems arse-backwards to me – surely the show requires more preparation, rehearsal, and guts to do.  Anyway…

There is much to like about this show, with its poptastic score, its energetic staging, funny script and talented cast, but for me there’s something not quite there.  Moments of excellence arise: Jamie’s mum belting out her big number about her boy; Shane Richie as the former drag queen regaining his glamour; an unrecognisable Shobna Gulati as Ray, a high-camp northern woman (almost a drag character in itself); a trio of drag queens bitching in the dressing room…For me, the best-written character is Pritti, in a show-stealing performance by Sharan Phull. 

In the title role, Layton Williams gives a star turn, taking to the high heels like a fish to water.  It’s a pity we don’t get to see Jamie do his drag act, but this is very much Jamie’s origin story.  He is still developing his drag superpowers.

And yet, I find the story lacks the punch of Priscilla, Queen of the Desert.  Here, the issues aren’t really issues, and acceptance seems easy to come by.  It’s a sanitised, almost facile version of growing-up gay.  Jamie has one supportive parent; many LGBTQ+ kids don’t have that, but what does come across is institutionalised homophobia, as represented by teacher Miss Hodge (Lara Denning), but even that is swiftly overcome and papered over with compliments about shoes.

Jamie is a snack, sweet and enjoyable while it lasts, but the subject matter could have made a more substantial and satisfying meal.

***

Layton Williams (Jamie) and Sharan Phull (Pritti) Photo: Matt Crockett

Phat Lot of Seuss

HOW THE GRINCH STOLE CHRISTMAS – The Musical

Alexandra Theatre, Birmingham, Tuesday 3rd December, 2019

 

Dr Seuss’s Christmas classic is given the Broadway treatment in this vibrant musical version by Timothy Mason (book and lyrics) with music by Mel Marvin.  As the years pass, I feel a growing affinity with the Grinch, a hermit-like, curmudgeonly Scrooge of a creature who begrudges the simple townsfolk their seasonal cheer.  He is the Anti-Santa, entering people’s homes and taking stuff away – although even I stop short of burglary.

John Lee Beatty’s set design draws heavily on the Seuss illustrations, with their off-kilter, pen-and-ink style.  Robert Morgan’s costumes follow suit, padded to alter the shape of the actors, especially those playing the Whos, the peculiar race of Christmas worshippers.  Add to the mix Ben Cracknell’s luscious lighting design, and you have a weird and wonderful world straight out of a storybook.  Production values certainly are high – just look at the size of the chorus!

Steve Fortune is Old Max, formerly the Grinch’s dog.  He is our narrator, our link to the past.  Fortune has a strong and pleasant baritone, which he gets to demonstrate in his rendition of You’re A Mean One, Mr Grinch – a song from an animated TV version of years ago.  The song is more well-known in the States than over here, so later, an audience singalong doesn’t really come off.

Playing Young Max is Matt Terry, last seen as a lion in Madagascar.  Terry seems to be carving out a career playing animals in musicals, and why not?  He is excellent at it, and this show gives him chance to show off his movement skills, even with his padded costume, and his vocal talents.

Holly Dale Spencer shines as Mama Who, with a fine singing voice, and a quirky way of moving.  There is a touch of mania in her eyes that is just delicious.  Together with Alan Pearson as Papa Who, and Karen Ascoe’s Grandma (in a towering pink wig like a dollop of ice cream) and David Bardsley (a sprightly Grandpa), there is a lovely quartet as the adults prepare the house on Christmas Eve.  The score is rich, and very Broadway, with catchy tunes and Sondheimesque phrasing.

Tiny Isla Gie almost steals the show as cute-as-a-button Cindy Lou Who, who interrupts the Grinch’s housebreaking.  She holds her own in a hugely impressive performance, like Shirley Temple with an edge.  Matt August’s direction allows a satirical touch so that things never get too saccharine or cloying.  The show delivers its message that Christmas is not about consumerism and brand names but those with whom you share it.

Now to the Grinch himself.  Edward Baker-Duly is just magnificent.  He makes the role his own with some cartoony reactions and some masterful showmanship.  One of a Kind is an old-fashioned showstopper.  This is a villain to be cherished and enjoyed – and I enjoy his throwaway topical references.

This crazy, stylish, funny and tuneful show has heart and is a welcome alternative to all the versions of A Christmas Carol that are out there.  It will get you in the feels; it even melted this cold-hearted Grinch of a reviewer.

the-grinch-pr-image-LST372578

 


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.

OYF-1

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