When? Tuesday 18th December 2012
Where? Alhambra Theatre, Bradford, stalls
Who? Billy Pearce, Lynda Bellingham, Brendan Sheerin, Brian Godfrey, Ben Stock, Hannah Grover, Christopher Drake, Afnan Iftikhar, Daisy Boyles, Matthew Prince Chambers, Jack Gow, Chelsie Johnson, Ricky Lee Loftus, Kerry Pearce, Innis Robertson, Laura Watson, the Children of the Sara Packham School of Dance
Billy Pearce has become as much a staple of Christmas as mince pies, The Snowman and difficult relatives. The “80′s TV comedian” – in his own words – is clearly enjoying his 14th year of pantomime at the Bradford Alhambra. Starring as Buttons in Michael Harrison and Alan McHugh’s new Cinderella, Pearce is a blast and provides the beating heart and northern soul of a very strong pantomime production.
Harrison, who Executive Produces, wisely keeps the focus on high quality for all-comers, not just the very young, making Cinderella a very successful family show. The sets are astonishing and no expense has been spared; in particular, some wonderful moments of stage magic are sure to delight the younger members of the audience, with gasps of delight clearly audible in the packed house on press night. Throw in live animals, some incredible puppet design and plenty of knowing nods and winks for the more mature panto-lover and Cinderella delivers a near-flawless pantomime experience for young and old alike.
Joining seasoned performer Lynda Bellingham – who gave a disappointly stiff Fairy Godmother – are a talented cast of triple-threat performers and some fine comic turns. Brian Godfrey/Ben Stock are amusing as the traditional Ugly Sisters, with their first act cover of Lady Gaga’s “Born This Way” winning plenty of laughs. Christopher Drake makes a dashing Prince Charming and Hannah Grover is an appealing Disneyfied princess Cinderella. Afnan Iftikhar has a lovely singing voice but could do with practice on his Prince Charles impersonation! Supporting the adult cast are a well-drilled teams of children from the Sara Packham School of Dance, who perform without fear. Lastly, in a classically tenuous pantomime link, Brendan Sheerin – host of Channel 4′s Coach Trip – is the coach driver. Ouch! Sheerin does well enough in the part and enjoys himself – I have certainly seen much worse!
But it is Pearce who sells the show with his infectious enthusiasm and humour. The children go crazy for him and he is cheered, clapped and screamed at (he usually screams back) whenever he is on – or about to come 0n – the stage. The adults in the audience can also take a lot from Pearce, with plenty of self-deprecating humour and safe innuendo. Throw in the occasion ad-lib and Pearce is a name that is guaranteed to sell tickets year after year.
In Bradford Alhambra pantomime tradition, bookings are already being taken for next year’s production – Aladdin – shout out if you can guess who is returning?!
Cinderella plays at the Bradford Alhambra until Sunday 3rd February 2013.
- Harry Zing
Chewingthescenery.com
When? Monday 26th November 2012
Where? Alhambra Theatre, Bradford, stalls
Who? Steven France, Thomas Howes, Karl Howman, Bruno Langley, Graham Seed, Jemma Walker, Jan Waters, Clare Wilkie
2012 has been a quite extraordinary year for Britain. Completely apart from the world of theatre and performance – a remarkable half-sentence coming from me – it has been a year we can be rightly proud of. The remarkable success and legacy of the Olympic games is plain for all to see – and Danny Boyle’s opening ceremony spectacular in particular was a joy to behold (well, that didn’t take long!). 2012 also marked a very special 60th anniversary for someone, a certain lady on the throne, known the world over as a British institution. That’s right, Agatha Christie’s The Mousetrap is celebrating it’s first ever full UK tour – and the Queen of Crime’s masterpiece is in positively majestic form.
Set exclusively in the grand hall of the newly established guest house Monkswell Manor, the set-up is classic Christie. A grisly murder has been committed in London amidst a huge snowstorm which is battering southern England. Newlywed couple, The Ralstons, are preparing to receive their new house-guests – each with their own secret reasons for visiting the isolated retreat. Before long, a police sergeant arrives – on skis – bringing news of the London murder, with the belief that one or more of the guests may be involved…
Sir Stephen Waley-Cohen and Adam Spiegel’s tour is a very timely tonic for the UK straight play touring circuit. One which is guaranteed to fill venues up and down the country for as long as the noted producers wish I suspect – but agreeably for all the right reasons. Director Ian Watt-Smith is no stranger to The Mousetrap, having directed the 38th, 41st, 58th and 59th years of the West End production and his intricate understanding of the piece is the key to this production’s success. Christie’s writing is sharp and witty, but in the hands of the wrong director can tumble into parody or, worse still, a ham-fest. Watt-Smith’s genius is in understanding what to play straight and what to send up; amusing and dramatically thrilling in all the right places, The Mousetrap absolutely flies by – and yet feels dense, tense and emotionally engaging.
The Diamond Anniversary tour of The Mousetrap is a brilliant, timeless and iconic production – and Monkswell Manor is positively lit up by one of the finest casts I’ve had the pleasure of seeing in a straight play in recent years. The entire company are strong: Steven France gives a hilarious performance as a flouncing, but deeply vulnerable Christopher Wren; Jemma Walker and Bruno Langley make a likeable and convincing Mr and Mrs. Ralston; Mousetrap regular Jan Waters makes a softer and funnier Mrs Boyle than I’ve seen previously and Clare Wilkie makes far more of Miss Casewell than could be reasonably asked of her, with a far subtler and considerably less angry vibe about her than many other actresses who have played the role previously as, to be blunt, ‘an angry lesbian’. Graham Seed as Major Metcalf shares some amusing first act banter with Mrs Boyle which earned hearty laughs from the audience; Karl Howman’s half-baked Italian-ish accent as Mr Paravicini is so ropey as to actually work in his favour, casting doubt on the character’s true identity…
Photo credit: Helen Maybanks
The undoubted star-turn though comes from Doncaster born Thomas Howes as Detective Sergeant Trotter. Howes, known to television audiences for his performance as William in ITV’s Downton Abbey, shows his versatility and brilliance as a character actor and leaves a lasting impression on the audience with an outstanding performance. He looks, sounds and adopts mannerisms so far removed from his noted television turn that he is barely recognisable. And his performance is certainly not identikit, in fact, with director Watt-Smith, Howes adds quirks and traits to the character which help make the role truly his own – Howes will be a big loss to the production when he leaves the show at the end of the Bradford run. His replacement is yet to be confirmed.
The production values are superb and no expense has been spared in recreating the West End production for tour. Whilst the Diamond Anniversary tour is technically a new production, it is in essence a reproduction – Anthony Holland’s original sets, the costumes, lighting design and so forth are almost identically replicated from the West End, where the production is re-directed once a year – regardless of the frequency of cast changes – to help ensure freshness. From experience though it doesn’t, as the West End production housed less than a few hundred people the last time I attended, most of whom were tourists. The tour production feels infinitely fresher, the regional audience frankly better.
Admittedly, it does take a few scenes to adjust to some of the follies of ‘an Agatha Christie’ as one integrates oneself into her universe. Christie’s fictional settings are ones which surely felt old-fashioned even in her day, so in 2012 a fair amount of willing suspension is necessary for any audience. One such example are accents; most of the company adopt the tried and trusted attempt at 1950′s ‘BBC newsreader’ RP – a rather stifling necessity for an actor with a natural regional accent, perhaps straining to imbue their performance with credibility. It is fortunate, then, that Watt-Smith’s focus is on delivering fully fleshed out incarnations of each and every character and is hugely successful in doing so. The Mousetrap is more than a play, it is a tradition – a staple of British theatre. This sense of tradition is enforced by the company’s request to the audience at the curtain call not to reveal the identity of the killer.
I appreciate that The Mousetrap is not without its critics; many commentators have bemoaned the sixty-year West End policy of refusing to discount tickets for a show that frequently struggles to put bums on seats – and some simply find Christie’s famous ‘cosy’ trademark style simply too, well, cosy for a 2012 audience. But there is no denying that in front of a packed Bradford Alhambra audience, some sixty years since it embarked on its West End run, we were caught up in a very special Mousetrap. A true masterpiece, dare I even say with Howes heading the company for his final few performances, in its prime.
The Mousetrap plays the Bradford Alhambra until Saturday 1st December 2012. The show then tours, returning to Yorkshire to visit the Leeds Grand Theatre in March 2013.
- Harry Zing
Chewingthescenery.com
When? Friday 9th November 2012
Where? Alhambra Theatre, Bradford, stalls
Who? Robert Anker, Minica Beason, Bradley Charles, Sheree Dubois, Natasha Gooden, Ess Green, Ross Green, Rowen Hawkins, Denny Haywood, Carrie-Anne Ingrouille, Sherona Knight, Kayla Lomas-Kirton, Cherelle Jay O’Donnell, Andry Oporia, Rohan Pinnock-Hamilton, Sarah Richards, Ross Sands, Letitia Simpson, Shaun Smith, Duwane Taylor, DJ Walde, Elliotte Williams-N’Dure
Kate Prince’s Zoonation have fast become a major player in the UK dance scene. Some Like it Hip Hop, a co-production with Sadler’s Wells, is a superb follow-up to Prince’s critically acclaimed 2006 Into the Hoods, a dance show which bridged the gap between musical theatre and ‘pure’ modern street dance. Very loosely based on Billy Wilder’s 1959 classic comedy Some Like it Hot, the narrative takes place in a dystopian city, where the Governor (Duwane Taylor) has blocked out the sun, banned books and relegated women to the role of second class citizens, doing menial jobs in a male oriented society. Those deemed not ‘up to scratch’ are exiled from the city gates by the tyrannical regime. Two women (Sarah Richards and the outstanding Minica Beason) decide to rebel – and posing as delightfully unlikely men – regain entry to the city with hilarious consequences. Narrator (Ross Green) moves the plot forward with rhyming couplets interspersed with superb dance scenes, perfectly complimented by superb live vocal performances by standout singers Elliotte Williams N’Dure and DJ Walde.
The dancing throughout is superb, the cast have little to say but communicate fluently and emotionally through dance. The scenes comprise of a number of standalone songs inspired by modern hip-hop music, 1970′s disco and even a dash of acoustic folk music in the form of DJ Walde’s lovely second act guitar ballad ‘Destination Unknown’. Three memorable characters emerge; Sudsy Partridge (Shaun Smith) is fantastically expressive and excels in his second act rebellion, winning over the audience with a charming performance. Oprah (Natasha Gooden) is a feisty, rebellious teenager who comes to the city keen to right the wrongs of the past, she dances very well and enjoys a fun second act disco number. But undoubtedly the star turn of the evening comes from Robert Anker as Simeon with the “175 IQ”. His dancing and characterisation were faultless and the tricky moves he pulled off were simply stunning. Interestingly, the company rotate the lead roles very frequently, meaning repeat visits are a very attractive proposition. The largely British company are so talented and versatile I suspect they are entirely interchangeable; it would be fascinating to see the production again after the next rotation.
It was a delight to see the Alhambra filled with young people, who were enthusiastic from the off – and positively rocking by the deafening finale. For many, it will have been a first taste of theatre and I can’t think of a better show I have ever seen to introduce a younger generation into the arts. This is not to say Some Like it Hip Hop is limited by its target audience – if it even has one – as there is truly something for everyone with an open mind who enjoys quality dance theatre. Less of a traditional book musical than In the Heights, but certainly more than just a dance show Some Like it Hip Hop is one of the best dance musicals I have ever seen. Kate Prince’s Zoonation are as innovative and exciting a theatre company as any and the future looks very bright for British dance with Zoonation at the fore. Some Like it Hip Hop is a show I could watch again and again.
- Harry Zing
Chewingthescenery.com
When? Monday 29th October 2012
Where? Alhambra Theatre, Bradford, stalls
Who? Beverley Callard, Ray Quinn, Philip Andrew, Jess Robinson, Duggie Brown, Sally Plumb, Cerie Hine, Lisa Howard, John Cockerill
Although I have never seen the warmly received, star-studded 1998 movie adaptation of playwright John Cartwright’s successful 1992 play, I arrived at the Bradford Alhambra for The Rise and Fall of Little Voice with high expectations. After all, the movie – as I was assured by friends and colleagues – was an amusing, yet poignant tale of one painfully shy girl’s reluctant journey to stardom. Her one means of expression comes through the small collection of LP records left to her by her beloved late father – and the (sometimes) uncanny impersonations of the various artists she adores.
Considering the time of the year, it would be apt to say that what could have been a whimsical treat of an evening, turned into a one trick pony. The underlying core of the play has oodles of potential for exploration, but sadly is realised in a disjointed, clunky and, at times, distasteful way. Impressionist Jess Robinson as ‘Little Voice’ stands out, but this potential star-turn is generally underused in the book. Thankfully, she is given a brief opportunity in a second act medley to show her full range of impersonations, ranging from an uncanny Cilla Black, to a passable Julie Andrews.
The play centres around Little Voice’s mother Mari Hoff (Beverley Callard), whose surname seems to have been chosen for one cheap first act joke. Despite delivering a performance almost identical to that seen for the last 21 years as her long-running Coronation Street alter-ego Liz McDonald; Callard failed, at times, to convince in her portrayal, often coming across forced and making numerous mistakes delivering the text. Her strongest moment comes in an Act II monologue, where the character ruefully evaluates her own life choices. Unfortunately, this segment is so alien to the would-be whimsical style of the rest of the play, it feels entirely out of place. A hard-drinking factory worker, who calls her daughter a ‘slit’ throughout and regularly uses the term ‘twat bone’, is suddenly found on the floor crying ‘I beseech you!’, as she begs for redemption. This bizarre turn of events is entirely unconvincing.
Criticisms of some of the acting and direction aside, my biggest problem was with the script, which I found at times distasteful and exploitative – not a word I would use lightly, but I feel is necessary in this case. Next door neighbour Sadie, played by poor Sally Plumb, is the ongoing figure of ‘fun’ and I must admit I felt rather uncomfortable with the jokes made at her expense. She is insulted throughout the play due to her size; the content of such jokes I found wholly unnecessary and actually bordering on malicious. Cartwright takes every cheap laugh on offer – we see the ‘fat girl’ dancing around stupidly, straddling a sofa, being called ‘fat’ names throughout with no retaliation, eating mouldy cornflakes, drinking ‘cups of sugar with bit of tea in it’ and vomiting on herself ‘for laughs’ – the latter humiliation being particularly disgusting and hardly referenced in the script. I fail to see how that particular ‘joke’ was either funny or expositional. Largely, this infantile humour is at odds with any feeling of whimsy or empathy built up with any of the characters.
The show features both a pre-show and interval performance, in the form of cabaret acts, an interactive raffle and bingo which went down quite well with the Alhambra audience. Duggie Brown plays the role of the compere Lou Boo and is convincing in a sparkling gold number. The remaining cast perform admirably. As Ray Say, Philip Andrew acts well throughout, but is perhaps a touch too nice – indeed, he is arguably the most likeable character – in spite of the predictable second act heel turn. The nicest moments in the play come with the interaction between love-struck Billy (Ray Quinn) and Little Voice; one scene involving an on-stage cherry-picker was well-acted and visually impressive. A memorable fire effect also stands out in the memory from designer Morgan Large and lighting designer Jason Taylor.
The plot is interesting, as are some of the characters who certainly have room for development. This could’ve been a charming story with a first-class star turn; but the final product sadly left me cold.
The Rise and Fall of Little Voice plays at the Bradford Alhambra until Saturday 3rd November 2012.
- Harry Zing
Chewingthescenery.com
When? Wednesday 24th October 2012
Where? Alhambra Theatre, Bradford, stalls
Who? John Hull, Giuliano Contadini, Mariana Rodrigues, Antoinette Brooks-Daw, Isabella Gasparini, Graham Kotowich, Mark Dennis, Jessica Morgan, Dreda Blow, Hironao Takahashi, Darren Goldsmith, Olivia Holland, Shanti Mouget, Michela Paolacci, Hannah Bateman, Ayana Kanda, Julie Charlet, Luisa Rocco, Sebastian Loe, Matthew Topliss, Matthew Broadbent, Ashley Dixon, Joseph Taylor, Kevin Poeung, Isaac Lee-Baker, Nicola Gervasi, Jessica Cohen, Rachael Gillespie, Thomas Aragones, Jeremy Curnier, Josh Barwick
David Nixon’s Beauty and the Beast, returning to Yorkshire after its successful world premiere in Leeds last December, is modern ballet at its brilliant best. Almost Disney-meets-The Phantom of the Opera, Nixon’s charming and visually appealing production ticks all the boxes for a great night at the theatre; a moving and well-conveyed narrative is superbly brought to life by the terrific company – with the principle dancers particularly shining – set against the diverse and emotive backdrop of Duncan Hayler’s imaginative sets, which are expertly lit by top lighting designer Tim Mitchell (whose work I had most recently admired in Dirty Dancing).
Nixon, who directs and choreographs, is rightly proud of this production, which blends melodrama and a wide variety of contemporary ballet styles to stunning effect. At times, it is rather like watching a classic silent movie; the theme of the piece carries wonderfully with the entrancing score. John Longstaff’s arrangements integrate the music with the drama seamlessly; the profoundly gothic tone in the second act opening and finale (Saint-Saëns: Symphony No. 3 – ‘organ’) surely could not have sounded better than it did on the night, under the baton of John Pryce-Jones and his talented orchestra.
The constantly shifting set pieces keep a real feeling of danger to the piece, in spite of the accessible family-friendly nature of the ballet; the beautiful backdrops are gorgeously lit and largely this is all the dancers need as a frame. Set pieces are flown in and out and – one faux-pas aside involving a to-scale lorry being reversed onto the stage – are very effective and in keeping with the tone of the piece.
Beauty and the Beast is a brilliant family show in the truest sense; there is something for the whole family to enjoy. The theatrics kept the immaculately behaved younger members of the audience rapt, while others sat in awe of the quality of the footwork – needless to say the muso’s were in for a treat too. Hironao Takahashi gives a wonderfully theatrical turn as The Beast; his dancing, whilst not world-beating from a technical viewpoint, was passionate and very physical and as he scales the second rigging of his castle and sneers from his lofty perch, he felt every bit the character I wanted him to be. Michela Paolacci is lovely as Beauty and is reminiscent of the likes of Mary Philbin, such was her tendency to the theatrical. Technically, her dancing was also a joy to watch and Paolacci remains one of the top talents associated with Northern Ballet, as she approaches her tenth year with the company. There are also standout performances from the conceited young Prince Orion, John Hull, and some fine comic relief throughout from the two sisters, amusingly played by Hannah Bateman and Ayana Kanda.
I absolutely adored this production, which I found to be of the highest quality. Nixon stops inches short of musical theatre throughout, making it hard to accept as a pure ballet; I personally enjoyed it as a piece of melodramatic theatre, with some terrific ballet dancing thrown in for good measure. For many who would never have dreamed of seeing a classic ballet, visiting this production will hopefully be the catalyst for a lifelong love affair with dance – and that can only be a good thing for the art and the industry in general.
- Harry Zing
Chewingthescenery.com
Paterson Joseph (Brutus, left) and Jeffery Kissoon (Caesar, right)
When? Tuesday 25th September 2012
Where? Alhambra Theatre, Bradford, stalls
Who? Jeffery Kissoon, Ann Ogbomo, Paterson Joseph, Cyril Nri, Joseph Mydell, Andrew French, Chinna Wodu, Mark Theodore, Segun Akingbola, Ewart James Walters, Ray Fearon, Ivanno Jeremiah, Ricky Fearon, Marcus Griffiths, Theo Ogundipe, Mark Ebulue, Jude Owusu, Samantha Lawson, Simon Manyonda
In the last few years, my patience had worn rather thin with the RSC, if truth be told.* It is therefore a surprise and a delight, in equal measure, to see a production as thrilling and inspired as Yorkshire born Gregory Doran’s Pan-African Julius Caesar, a play given a new lease of life against the backdrop of a civil-warring African republic. Featuring an all-black British cast, pre-show fears were quickly allayed as to any similarity between the 2009 The Tempest, which was incredibly the last RSC Shakespeare production to visit Yorkshire. Doran, directing his last production as Chief Associate Director before replacing outgoing Michael Boyd as Artistic Director, has set the benchmark very high for his tenure as RSC boss.
Whilst the African Caesar concept has been visited previously, Doran sets a precedent by not bludgeoning the idea on the audience; his is a production of subtleties and, in many ways, Shakespearean traditionalism which defies the modernised setting. Doran finds the perfect balance between accessibility and artistic credibility, keeping the bus loads of Year 8/9 school children, at times, as rapt as the invited and paying guests in the rows behind. It helps, of course, that the play has oodles of conspiracy, intrigue and treachery which needs little signposting. The plotting senators, initially fronted by Caius Cassius, are a wonderfully clandestine society of hooded figures who meet under the cover of darkness, whispering in the shadows; all literally behind the back of the would-be victim of assassin, Caesar, whose giant stone statue towers over the west of Rome, referencing the fallen monuments to Lenin, Saddam Hussein and other ‘dictators’ from recent history.
Yet the Caesar we meet is not the would-be dictator described by the conspirators – or indeed the turn given frequently as directed on stage. The returning war hero, greeted by a band of supporters who sing his name, is an aging, portly, slightly deaf has-been who looks about as ambitious as a teacake. Jeffery Kissoon finds the insecurities of his ‘Northern Star’; some may question whether he provides the ambition to match that which was touted by the conspirators – but this is almost definitely the point. His speech at the Capitol was less brutal tyrant than minor hissy-fit; all of which sits beautifully with the notion that Brutus himself was the one most deceived.
The action takes place on Michael Vale’s grand set, dominated by the enormous statue positioned and facing upstage. As is the norm now, guns have replaced swords as the weapon of choice for modern stagings (although I have never, ever seen one used instead of the dagger Shakespeare prescribes in the text). The costumes, initially fairly neutral tribal wear, latterly camouflage and military uniforms, are entirely convincing and appropriate throughout. The attention to detail is superb, right down to Calpurnia’s kanga, defining her as one of a higher standing.
With Julius Caesar considered a particularly simple Tragedy, the tiniest nuance in a performance is likely to come under scrutiny – and largely the cast are aware of this, with the acting generally of a good standard. Jeffery Kissoon is perhaps rather too likeable as the bumbling Caesar (a few in the audience audibly reacted to his murder with sympathy) but gives a steady turn; Paterson Joseph is about as ambitious as they come in a Brutus, his ear is visibly turned as Cassius suggests he be a far more worthy leader; he has some lovely moments, particularly in his asides, but there is little doubt that his posthumous status as ‘noblest Roman of them all’ is extremely questionable. It is Ray Fearon as a charismatic Mark Antony who gives the outstanding turn and grew from strength to strength with his character over the course of the evening. There was even a certain swagger to Fearon at the curtain call, which was hard not to find well suited to his dominating, confident frame. Elsewhere, there are some very large-scale performances from several, with Cyril Nri particularly memorable for being the wrong side of ‘legs apart and shout everything’. The entire cast adopt African accents, all of which are spot on and a potential banana skin averted.
A few missteps aside (an awkward pre-show** and later what appeared to be a completely unnecessary and noncontexual ‘black power’ salute from Mark Antony) Gregory Doran’s Julius Caesar is one of the best new productions I have seen from the RSC in many years – and a fantastic reason to get yourself to the Bradford Alhambra for a quality night of straight theatre. May it be the first of many quality RSC productions to visit the region in the coming years.
Julius Caesar plays at the Bradford Alhambra until 29th September 2012.
- Harry Zing
Chewingthescenery.com
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Notes
*The last RSC production to visit the region was the dire 2009 The Tempest starring Antony Sher and John Kani, which was an RSC co-production which originated in South Africa, again with a central African setting.
**The production features a live music pre-show and tribal dancing, while audience members – many of whom were visiting the theatre for the first time, awkwardly filed to their seat, unsure if they were allowed to talk/get up, and so forth.
When? Tuesday 18th September 2012
Where? Alhambra Theatre, Bradford, stalls
Who? Dave Willetts, Marti Webb, Bruce Montague, Jessica Punch, James O’Connell, Carol Ball, Graham Hoadley, Graeme Henderson, Stephen Weller, Rebecca Marks, Lucy Ashenden, George Bray, Tabitha Camburn, Felicity Chilver, Daniel Clift, Abigail Climer, Katy Day, Anouska Eaton, Jamie Harris, Jenny Jones, Josh Kiernan, Stevie-Jean McGuire, Holly Mitchell, Marios Nicolaides, Ben Palmer, Debbie Paul, Claire Rickard, Hollie Sorelle, Sebastian Sykes, Billie-Kay
“Think of the two most glorious words in the English language; musical comedy!“, enthused ‘King of Broadway’ Julian Marsh before the Act II showstopper ‘Lullaby of Broadway’; in the case of UK Productions 2012 tour of 42nd Street, it is hard to disagree. 42nd Street is the ‘Broadway musical’ at its purest; huge production numbers see swathes of tap-dancing, top-hatted chorus boys vying for attention with a similarly handsome chorus line of young ladies, each offering notable talent in addition to the Broadway T&T combination, which was the backbone of musical theatre for the majority of the 20th century. Indeed the 1980 musical, set in 1930′s New York City during the Great Depression and re-worked from a 1933 novel, is an unashamed homage to the era – and a show which is still very much loved today.
The story is a classic scenario; Broadway diva Dorothy Brock (Marti Webb) breaks her ankle shortly before opening night of a new Broadway show, ‘Pretty Lady’, leaving the production without a star – and leaving the entire company, including legendary director Julian Marsh, out of desperately needed bread money in Depression-stricken New York City. Step forward bubbly Peggy Sawyer, (Jessica Punch) an unknown from Allentown, Pennsylvania who is making her professional debut in the chorus line. Can she step into the spotlight and become a star?
The musical is a blast from start to finish; a combination of warm humour, the light-hearted and fluffy narrative, and some wonderful song and dance numbers makes 42nd Street one of the best of its kind. Indeed, large chunks of the show are lifted and used for comic effect in other productions such as Spamalot, The Drowsy Chaperone and most notably The Producers, which watches as a love-letter to the likes of 42nd Street, which is evidence of the genre’s enduring appeal. The book is also surprisingly relevant and engaging for such a marshmallowy show; Act II’s ‘Sunny Side to Every Situation’ was particularly moving, the simple direction allowed the poignancy of the moment to shine through beautifully, as the redundant chorus girls fearfully contemplate their respective futures. The production numbers are an absolute joy to watch; the dancing is largely impeccable – particularly from the female ensemble – and the footwork outstanding as you would expect from a show which features a triple-threat dance-centric cast of over twenty dedicated hoofers, plus principal roles, tap dancing in unison. The show has camp in spades; early on, the fourth wall is very quickly and knowingly broken as Maggie suggests with a knowing smile that the chorus girls tap dance their way to the local restaurant, before putting musicians to sword: “We put them in a pit for a reason, you know”.
The sizable budget for the production has been very well spent on filling the stage with performers, both plentiful in number and quality. Gareth Williams’ cracking little orchestra of nine are a pleasure to listen to throughout and an unexpected luxury. To put things into perspective: the UK touring production of 42nd Street boasts a larger band than the West End production of Les Miserables. The costumes (Roger Kirk) are fitting and terrifically striking throughout, the wig work is similarly impressive for such a large undertaking. Douglas W Schmidt’s designs are surprisingly grand; the second act train station scene is given its own impressive set, as is the theatre dressing room; by the time the finale comes we are treated to the full company tap dancing in shimmering gold, on the iconic lit staircase. It is hard not to be impressed by the efforts of the producer and design team who spared no expense. Even the downstage backdrop projections and lighting work (David Howe) were impressive throughout and the projections used sparingly alongside actual, physical sets. Director/Co-author and 42nd Street regular Mark Bramble does a fantastic job of ensuring the action flows along nicely.
The cast is headed up by two British musical theatre veterans and household names in the industry in Marti Webb and Dave Willetts. Webb is decent enough as Dorothy Brock and she sings reasonably well. Her character is written to be outshone by her younger, more generously talented ensemble member colleague; and she duly is. Dave Willetts, previously outstanding in The Phantom of the Opera and more recently Craig Revel Horwood’s 2008 Sunset Boulevard, has something of a spark on stage which is hard to quantify. He can create a tension in the air that very few performers can muster and again achieves this as a gruff Julian Marsh. ‘Lullaby of Broadway’, the stand-out number of the performance, is his crowning triumph in the role, which he sings and acts with gravitas and dignity throughout. The quality throughout the ensemble is very high, Jessica Punch does very well as Peggy, with a wide-eyed excitability and charm which is impossible not to find endearing; James O’Connell shamelessly hams it up as Billy Lawlor to great comic effect; O’Connell, like Punch, is also an excellent dancer and had the technical skills to back up the comic elements of his role. Carol Ball starts very strongly as Maggie, helping carry ‘Go Into Your Dance’ with gusto. The dance ensemble all looked the part and had the ability to match, credit must be given to choreographer Graeme Henderson for his fabulous work and dance captain Hollie Sorelle for ensuring the dancing was as tight and focused as it was on the night. Slightly less focused, however, were the accents which were a curious mixture; for every Brooklyn there was an erroneous Texan or ropey General American. Not distracting, but not brilliant.
If you missed this tour in its original 2007 outing, you have a second chance; 42nd Street is a slice of classic Broadway on your doorstep and this production from Martin Dodd on behalf of UK Productions is thoroughly enjoyable for young and old alike.
42nd Street runs at the Bradford Alhambra until 22nd September 2012.
- Harry Zing
Chewingthescenery.com
When? Wednesday 12th September 2012
Where? Alhambra Theatre, Bradford, stalls
Who? Ace Bhatti, Don Gilet, William Ilkley, Ian Reddington
When Yorkshire playwright John Godber‘s hit comedy Bouncers debuted some 35 years ago at his beloved Hull Truck Theatre, it proved an instant hit. The production has seen numerous re-writes and updates in the decades which followed its 1977 premiere, including the fantastically-named ’1990′s remix’ – and presently – the 2012 tour from Watershed Productions, for which Godber has again taken the reigns as director. The play is widely regarded as being culturally significant; its legacy reinforced by its status as a GCSE text today – indeed, Bouncers proves just as watchable for a seasoned theatregoer as for a large group of difficult-to-please teenage students.
Bouncers is an observational piece telling the story of four lads and four lasses on a night out as they try to dance, drink, vomit, urinate and fart their way to ‘happiness’. Night after night, weekend after weekend, the Bouncers watch on; they’ve seen it all before. Ralph and Les are passive – normal; Lucky Eric is very strange – Judd is a psychopath. The roles are played by the same four actors, dressed in plain black suits; when playing the girls, a limp wrist, a mince and a glittery handbag are deployed as visual aids; the lads swagger their way into Asylum Nightclub and the Bouncers grimace, banter and otherwise wallow in their self-loathing. There are laughs aplenty throughout; the hilarious ‘sex scene’ was wonderfully executed (though be warned, strobe lights are used for this segment) and, although it might be considered cheap laughs by some, the performances as the girls on their night out were surprisingly genuine. There was something oddly amusing about the characters simply announcing their names when they entered – ala the Teletubbies – and I will never look at a Smurf the same way again.
It is impossible to ignore the similarities of Godber’s writing to that of fellow popular playwright Willy Russell; both men are from working class backgrounds (Godber is the son of a miner from a West Yorkshire mining town) and both write with a belt of much-needed humour, with younger people firmly in mind. They also both clearly have a fondness for rhyming couplets, which are used at the beginning and end of the play as a simple framing device which brought closure to the ‘night out’ in a very apt manner. The play is observational in a very literal way; there is little exposition or plot over the course of the two hours, neither is there too much fleshing out of the characters. The Bouncers are the most developed; Lucky Eric, who breaks into monologue throughout the play, arguably takes on the mantle of creating dramatic impetus. Part amateur philosopher, large part pervert, I was unsure what to make of his rambling speeches about young girls ‘soft, tender thighs’ and his witnessing of what appeared to be a serious sexual assault in a pub, which he claimed ‘ … aroused him more than ever before’. Whilst the content was not shocking by modern standards, it felt strangely out of place in the context of an otherwise amusing comedy and left me squirming in my seat in places; like listening to bad ‘sexual fiction’, read by a fifty year old on audio book.
Godber’s 2012 updates are plentiful and a mixed success; thumping modern club music is pumped out throughout the evening with Rhianna, Jessie J (and the Outhere Brothers (?)) – and the like – setting the scene very much in the modern day. There is a half-hearted stab at social and economic commentary, which I found quite hard to swallow; Godber’s belief that young people are victims of the society they have grown up in was always certain to divide an audience who didn’t pay to see social comment – from either end of the political spectrum. Some changes (or lack thereof) are simply factually incorrect; the opening verse implies patrons need to wear a suit to enter a 2012 nightclub, that young girls go to a salon to get a large beehive perm for a night out (or young men go to smokey, terrifying barber shops to get a ‘Joey Barton’ do) – or, for that matter, that groups of young women dance around their handbags in the middle of the nightclub dance floor and groups of men compare the size of their penises and urinate on each other for laughs in the toilets. I’m not sure I’ll ever know what a ‘large shot’ is either. These may seem small inaccuracies, but for a play which is not narrative driven but based on Godber’s interpretation of young people’s actual lives in 2012, these are errors which need correcting to ensure credibility with the people Godber is attempting to portray.
The cast do well across the board, but William Ilkley gives the stand-out turn as wind-up merchant Judd, making the most of his one-liners and truly looking the part to boot. Ian Reddington is fine as Lucky Eric, but for reasons of keeping my dinner down I can’t dwell on the speeches he is given to recite. Ace Bhatti is hilarious in a brief cameo as a Club DJ and is wonderful as Suzie, particularly in the nightclub scenes. Finally Don Gilet as Les isn’t given a lot to do, but earns plenty of laughs when given the opportunity.
Bouncers is an amusing few hours which zip along nicely; it doesn’t work as a piece of social commentary but as a light-hearted comedy, accessible to people of all ages and backgrounds, it proves a successful revival. John Godber, who was in attendance himself, will be delighted with the ovation his ‘baby’ received – and I’m sure this isn’t the last incarnation we will see of Bouncers in the years to come.
- Harry Zing
Chewingthescenery.com
When? Wednesday 30th May 2012
Where? Alhambra Theatre, Bradford, stalls
Who? Kristofer Harding, Amanda Coutts, Mykal Rand, Jamie Capewell, Lothair Eaton, Ruthie Stephens, Kelsey Cobban, Camilla Hardy, Robert Nurse, Lex Milczarek, Glenn Robb, Stuart Armfield, Gavin Ashbarry, James Marshall, Nick Bower, Kris Manuel, Andy Burke, Tristan Adams, Matt King, Adam Illsley, Lisa Dahmane, Louise Lenihan, Sarah Riches, Georgina Hagen
Andrew Lloyd Webber’s Starlight Express arrived at the Bradford Alhambra last night to a well-deserved standing ovation. The Bill Kenwright produced musical rolled into Yorkshire as just the second date on a mammoth 2012/13 UK tour and this new production, part of an agreement between Kenwright and Lloyd Webber’s Really Useful Group to re-visit much of Lloyd Webber’s back catalogue on the UK touring circuit, is a joy from first to last.
A child is playing with his toy train sets, staging a race to find the fastest train in the world; his imagination is the setting of the musical – a simple love story and underdog tale about Rusty and his journey to get the girl, well, coach of his dreams Pearl and win the big race. The typically eighties musical, which sees the company gliding around the stage on rollerskates, has undergone some significant updates over the years and there is certainly more emphasis placed on the music and production numbers in this outing. There are superb brand new arrangements to bring the production up to speed and musical director Dave Rose and his small but chipper band deserve much credit. The cast are equally terrific; many are returning from the show’s last visit to the Alhambra in 2007 and have a long-running association with the musical; their passion and workrate is unquestionable. Kristofer Harding is wonderful as Rusty, Amanda Coutts (recently seen in the We Will Rock You tour) plays Pearl to extremes with a charming Disney-esque performance and Lothair Eaton gives a good turn as the crowd-pleasing Poppa. Jamie Capewell’s Greaseball is amusing; a strange combination of Elvis and Danny Zuko brought to life on rollerskates. Special credit must also be given to Kelsey Cobban as Duvay who gives a very accomplished performance in the ensemble throughout.
Starlight Express is a thoroughly enjoyable Lloyd Webber musical with a lot of charm and a hard working and technically capable cast. The real joy for me last night was enjoying the music in a way I hadn’t done before with this musical. Some of the songs – thanks to the new arrangements – have been given a new lease of life. Starlight Express, along with Joseph, is oft-criticized by theatre snobs as Lloyd Webber at his worst; a book musical riddled with numerous pastiches of musical styles, each written by numbers – and to an extent it’s true. The classic Broadway ‘I want’ song is present; “He’ll Whistle at Me”, an attempt at rock n’ roll “AC/DC”; “Crazy” provides us with a hummable 60′s pop tune, “Poppa’s Blues” is, well, the blues. There’s even an out and out comic country and western number “U.N.C.O.U.P.L.E.D” with wonderfully funny lyrics from Richard Stilgoe. The crucial thing is that they are all roaringly successful and amusing – Starlight Express is an example of how to do it brilliantly.
This new 2012 production is host to a number of further changes; some of the carriage names have been modified to suit a modern audience, Arlene Phillips’ new direction/choreography is as tight as I’ve seen from this show and, interestingly, a new second act ballad titled “I Do” (A. Lloyd Webber/Nick Coler) is included at the expense of the forgettable “Next Time You Fall in Love” and is written by Andrew Lloyd Webber’s own son Alistair. The song is actually one of the stand out numbers of the evening and is a good sign of things to come from Lloyd Webber Jr. For logistical, safety and crucially financial reasons the races are still depicted in the form of 3D videos, which débuted in 2003 with the last major reboot, for which theatregoers are given ‘safety goggles’ when entering the auditorium. There are brand new projections by Mark Howett which add slightly more depth to the simple yet striking set, for which the great John Napier curiously still gets a credit.
Unfortunately, in direct comparison to the enormous-in-scale and now departed West End production, this Starlight – as with the previous tours – feels rather trimmed down in places. The skating is tight and based in dance rather than stunts; two ramps are occasionally wheeled on but scarcely used, with just one acrobatic specialist in the company. The 3D videos are a necessity and do a job, but it was magical to see as I did at a very young age thirty-odd skaters whizzing around the stalls of the Apollo Victoria in the West End, performing tricks and flying onto a huge crash mat on stage. But, sensibly Phillips keeps the action based around the music, the dancing and the narrative and as a result – on the budget given – I truly believe this is the best Starlight Express we’ll ever see.
Bill Kenwright’s 2012 UK Tour of Starlight Express is a must see and runs at the Bradford Alhambra until 16th June 2012.
- Harry Zing
Chewingthescenery.com
When? Friday 25th May 2012
Where? Alhambra Theatre, Bradford, stalls
Who? Abel Rojo, Alberto Gonzalez, Lisvet Barcia, Aymara Vila, Carlos Blanco, Jenny Nocedo, Liesbeth Saad, Jennifer Tejeda, Mario S. Elias, Marta I Ortega, Norge Cedeno, Thais Saurez, Yaday Ponce, Yelda Leyva, Yosmell Calderon, Yoerlis Brunet, Alejandro J Ransoli, Raul Reinoso, Claudia Iglesias, Gabriela Burdsall, George Cespedes, Heidy Batista, Denis Martinez
Right on cue in the middle of a (rare) early British heatwave, ‘Danza Cuba’ began its short stay at the Bradford Alhambra last night. On the back of a successful 2010 UK tour, this new production features three new and very different independent pieces. The dark, boxing-themed ‘Sombrisa’ (D Dir. Itzik Galili) opens the show with the full company clad in mock boxing attire down to black gloves; the black backdrop miles away from the audience’s expectation of a summer festival of dance. The serious and dramatic piece is adequately performed, a relentless drum solo works the dancers to their physical limits, yet perhaps lacks the theatrical drive required to truly engage the audience. The second piece, ‘Carmen?!’ (D Dir. Kenneth Kvarnstrom) is a comic speed re-telling by the male ensemble, set to Bizet’s iconic score. There were laughs aplenty from the warming audience and the male company appeared far more comfortable with this piece collectively, given the opportunity to play a role rather than rely on solely technical ability. The final routine, ‘Mambo 3XXI’ (D Dir. George Cespedes) promised from the title alone to be more in line with the audience’s expectations of the show and didn’t disappoint. ‘Mambo 3XXI’ features a wider variety of dance than the other pieces and is heavily influenced by Latin-American themes. A loose narrative threads the segments together nicely and the show is brought to an impressive conclusion with some of the tightest and most impressive dancing of the evening.
Unlike some similar touring productions, ‘Danza Cuba’ features no live music or singing, favouring pre-recorded drum solos, bands and singers. Whilst this helped to maintain a focus on the dancing, based on my previous experience of exceptional dance productions to visit the Bradford Alhambra (such as Burn the Floor and, especially, Havana Rakatan) I feel live music would have benefitted this production hugely.
The production is sparse to say the least; the sunny, Cuban imagery from the colourful promotional material is simply absent. However, with simple lighting, basic costumes and a high work rate from the company, the show seems full enough. The proficient Cuban troupe are known as their nation’s flagship contemporary dance company and many may go expecting a classic taste of Havana. ‘Danza Cuba’ are, in actuality, a dance troupe who happen to hail from Cuba, and who specialise in Modern, Caribbean and Classical dance (albeit only with a comic twist) rather than traditional Cuban dances, at least in the three routines premiered in this particular outing.
This production is ideal for newcomers to dance, being both accessible and digestible in terms of length. In fact, the production includes two twenty minute intervals and a total running time of just under two hours. The evening zipped along nicely and each individual piece had its own quality and unique style. The tour has played and is still yet to play many of the other great regional theatres, with Sadlers Wells notably yet to come.
‘Danza Cuba’ plays at the Bradford Alhambra until the 26th of May 2012.
- Harry Zing
Chewingthescenery.com
