There’s no denying the star quality and pulling power of Tommy Steele, the rousing ovation from the packed to the rafters auditorium as he merely steps on stage is proof of that, that coupled with the public’s enduring fascination with the music and mysterious disappearance of Glenn Miller and you have a show that promises to fill the house every night.
Seventy years since Miller vanished over the English Channel, Bob Tomson and Bill Kenwright present a musical biographical journey through the all too short life of the legendary band leader.
With a sixteen piece orchestra, a six-piece ensemble of fine-voiced singers and dancers and a top-notch central cast there is much to praise here, most of all the rousing band – at their best when blasting out glorious tunes such as: In The Mood and Pennsylvania 6-5000. Less successful though is the casting of Britain’s first rock ‘n’ roll star as Miller. Tommy Steele is a legendary song and dance man and has a raft of musical theatre experience behind him, the legendary twinkle in the eye is still there and much of his voice remains, however his advancing years (78) stretch the boundaries of believability playing a man who tragically died at the age of forty, especially when cast beside a very youthful actress as his wife.
That said, this is an enjoyable, brisk gallop through the life and times of a man who changed the face of popular music and a chance to see a legendary British stage performer in the flesh, and there should be enough to entertain fans of both Steele and Miller alike.
Runs until Saturday 19th September 2015 at the King’s Theatre, Glasgow
The X Factor has become the touchstone for all that is abhorrent about Britain today: the unhealthy obsession with celebrity and the overwhelming lack of desire of young people to become anything other than ‘famous’. With its tear-jerking back stories, meant to tug at our heart-strings, but which are increasingly making us turn off in droves, the mockable and deluded ‘losers’, the plucky ‘triers’ eternally looking for their big break, it was with raised eyebrows and cries of derision that the news that Harry Hill was writing an ‘X Factor musical’ was met.
But surely Hill wouldn’t harness himself to a project that might ruin a reputation built up over 20 years, would he? And how far could it really go with Simon Cowell on board as one of its producers? Ever the optimist, it was with an open mind that this reviewer headed to the Palladium to see I Can’t Sing!
The crux of the matter is; Is it entertaining? Simply, the answer is a resounding yes. Did I laugh? Yes – a lot. Are there any good tunes? Yes – a fair few. That said, there are as many moments of bemusement as amusement throughout. There’s a hearty dose of the eccentricity and surrealism that characterises Hill’s work, but as amusing as this all is to a native audience one can’t help but wonder how the foreign tourists, upon whom much of the West End’s economic health depends, will fare with it’s UK-centric plot and cultural references. Indeed, on the evening I attended there was a joke worked in about MP Maria Miller’s resignation which had happened that morning.
The plot is as flimsy as tissue paper (basically that of a modest young hopeful with a tear-jerking back story and the eccentrics that surround the circus that is the TV talent show circuit) and the material sometimes seems as if it’s spread a little thin over the two and a half hour running time, but it rocks along at break-neck speed and there are enough cheesy jokes, mayhem, high octane energy, good tunes and eye-popping visuals to keep the interest levels high throughout.
Its greatest strength however is its cast, made up of the great and good of the UK musical theatre world:
Nigel Harman is suitably oily as a Messiah-like Simon whose self-adoration knows no bounds. He particularly shines in a Las Vegas tap-dance spectacular.
Cynthia Erivo is our ‘heroine’ Chenice, an orphan who lives in a caravan with one plug socket under a flyover with her grandfather in an iron lung who daily has to make the choice between toast or oxygen! Erivo has a knockout voice which she gets to showcase well, particularly in the title song.
Simon Lipkin is Barlow, Chenice’s talking (to the audience) dog (yes, you read that correctly).
Relative unknown Alan Morrisey shines as Max the plumber, Chenice’s love interest and fellow contestant, he has an excellent voice and a natural charm that communicates well to the audience.
Simon Bailey is a knockout as Liam O’Deary and has the real X Factor host’s mannerisms down pat. The only gripe being that we don’t get to hear Mr. Bailey’s rather fine singing voice enough.
Charlie Baker delivers a show-stealing turn as hunchback(!?!) Trevor Modo. There’s also a Subo-like checkout operator from Wales and spawn of Jedward Irish duo Altarboyz thrown into the mix.
The other judges are ably played by Ashley Knight as a doddery Louis and Victoria Elliot as Jordy, a Tyneside celebrity singer whose speech is peppered with familiar ‘pets’ and ‘loves’ and whose contestants are “like little brothers and sisters to me”, sound a bit familiar?
Steve Brown‘s songs cover almost every genre of popular music and there are some standouts, in particular Trevor Modo’s hysterical rap number and the lyrics are often a hoot. The accompanying band are on fine form too, if at times, at ear-splitting volume.
Les Mis it ain’t but entertaining it certainly is. It’s crude, at times surreal, often nonsense, always ear-drum burstingly loud and completely and utterly bonkers throughout but there’s much to enjoy here. Leave your preconceptions at the door and go along for the super silly, surreal ride. You might just enjoy it.
All images courtesy: http://www.icantsingthemusical.com/media/