Tag Archives: Musical

NEWS: 9 to 5 Returns to Glasgow King’s

Currently playing in London’s West End, the producers of 9 TO 5 THE MUSICAL have announced the musical will play the King’s Theatre, Glasgow from Tuesday 8 – Saturday 12 October 2019. Casting will be announced soon.

9 TO 5 THE MUSICAL features a book by Patricia Resnick, the legendary film’s original screenwriter, and an original Oscar, Grammy and Tony award-nominated score by country legend and pop icon Dolly Parton. It tells the story of Doralee, Violet and Judy – three workmates pushed to boiling point by their sexist and egotistical boss. Concocting a plan to kidnap and turn the tables on their despicable supervisor, will the women manage to reform their office – or will events unravel when the CEO pays an unexpected visit? Inspired by the cult film this hilarious new West End production is about teaming up, standing up and taking care of business!

9 TO 5 THE MUSICAL is written by Patricia Resnick, with music and lyrics by Dolly Parton. It is directed by Jeff Calhoun, choreography by Lisa Stevens, design by Tom Rogers, lighting design by Howard Hudson, sound design by Poti Martin, video design by Nina Dunn, original arrangements by Stephen Oremus & Alex Lacamoire, original Broadway orchestrations by Bruce Coughlin, musical supervisor, reductions & extra arrangements by Mark Crossland, musical direction by Andrew Hilton and casting by Victoria Roe.

Dolly Parton presents 9 to 5

King’s Theatre, Glasgow

Tue 8 – Sat 12 Mar

Tue-Sat, 7.30pm

Wed, Thu, Sat: 2.30pm

0844 871 7648*

www.atgtickets.com/glasgow

*calls cost up to 7p per minute plus your phone company’s access charge

 

REVIEW: Nativity! The Musical – King’s Theatre, Glasgow

The clocks have gone back, Hallowe’en and Bonfire Night are over, so, of course, Christmas is here. Seven weeks early, but who’s complaining when it’s the stage version of Bafta Award-winning Debbie Isitt’s hugely loveable 2009 movie, Nativity?

For those familiar with the big-screen trilogy, the stage plot is lifted entirely from the first film. Mr. Maddens (Scott Garnham) is a less than effective primary school teacher, having previously been an even less than successful actor. With the festive season approaching, the school Nativity show looming and a broken heart courtesy of his ex-girlfriend Jennifer (Ashleigh Gray) who dumped him to pursue her career dreams in Hollywood, things can’t possibly get worse. Unfortunately they do. Competition arrives in the form of his former best friend, Gordon Shakespeare (Andy Brady), who is now receiving plaudits for his festive extravaganzas at a rival primary school. Maddens declares that a Hollywood producer is coming to film his Christmas show, needless to say they’re not, and mayhem ensues, aided and abetted by hyperactive classroom assistant Mr. Poppy (Simon Lipkin).

With such well-loved source material, the cast need to step up and fortunately they more than match, and in some cases exceed that of the film. For West End theatre buffs, this is dream casting. Scott Garnham is entirely believable as the lovelorn Mr. Maddens with a gorgeous voice to boot, Ashleigh Gray makes her mark in the relatively small role of Jennifer and manages to showcase her phenomenal vocal skills, Andy Brady is a suitably manic Mr. Shakespeare (his Herod is a gem) but it is the utterly irresistible Simon Lipkin as Mr. Poppy who thoroughly steals the show. Lipkin is a star in everything he’s in and here he gets to showcase his formidable talents while still bringing out the best in everyone around him.

But what about the kids?, after all, this really is a children’s show. The local children cast as the pupils of Oakwood Primary School are drilled to perfection, but the pupils of St. Bernadette’s are truly phenomenal. Added to an already spectacular cast, there’s also an irresistible pooch called Cracker to crank up the cute factor.

The production values are high and the set looks as good as anything your likely to see on a West End stage, and the choreography from the always reliable Andrew Wright is perfectly reflective of that of children in 2018. The roster of musical numbers has been significantly upped from the half a dozen songs in the movie and each is a catchy delight.

Nativity! starts on a high and the entertainment factor never diminishes for the entire running time. It knows how to tug at the heart strings without becoming over schmaltzy, you’d need to be hard-hearted indeed not to be touched by this. This is a show of infinite quality from start to finish and stands head and shoulders above most festive offerings.

It preaches a laudable message of the power of a positive mindset and that sometimes the good guys can win in the end. Ultimately it’s a festive, feel-good, feast for the eyes that fills you with the warm and fuzzies.

Beg, borrow or steal to get a ticket, this really is an unmissable show.

Runs until November 2018 | Image: Richard Davenport

This review was originally written for The Reviews Hub. The UK’s leading and most prolific digital portal for the performing arts. With 150 reviewers spread across the UK, managed by 10 editors, The Reviews Hub publishes reviews, previews, features and interviews on entertainment throughout the whole country.

 

REVIEW: An Officer and a Gentleman The Musical – King’s Theatre, Glasgow

Another day, yet another iconic 80s movie is adapted as a stage musical. This adaptation of An Officer and a Gentleman by Douglas Day Stewart (with Sharleen Cooper Cohen) of his own original 1982 screenplay, is a cheesy, overblown but ultimately likeable production with a plethora of hits of the decade.

For those unaware of the original source material, An Officer and a Gentleman follows the story of a group of new recruits at the United States Naval Aviation Training Facility in Pensacola, Florida, and the band of local factory women who strive to hook one of these would-be officers in an attempt to escape the drudgery of their dead-end jobs. Principal among them is the relationship between troubled Navy brat Zack (Jonny Fines) and “townie” Paula (Emma Williams). Oh, joy, another story where a man has to ‘rescue’ a woman in order to give her a better life, I hear you cry, and while hackles may rise in 2018, it just about gets away with it due to its early 80s setting and the corniness with which it’s delivered.

The action takes place on a dull but functional set by Michael Taylor. The colours, drab blues, brown and greys are evocative of the workers situation and the Naval Base but, are a trifle uninspiring to the eye. It does however change smoothly, quickly and effectively between the many locations in the story.

The whole score could be a Now That’s What I Call The 80s album and there are some stomping anthems: Livin’ on a Prayer (given the volume it deserves), Alone and I Want to Know What Love Is and a corking version of We Don’t Cry Out Loud from Williams and Rachel Stanley as her mother Esther, but, there are some baffling arrangements that are less easy on the ear: Heart of Glass and a caterwauling Kids in America to name two.

The greatest asset of the production is its actors, there are some knock-out performances from a refreshingly representative cast in age, gender and race. There are no weak links, veteran Ray Shell is highly effective as Drill Sgt Foley, and the central quartet of Williams and Fines as Paula and Zack and Ian McIntosh (who delivers an emotive performance and has a beautiful voice) as Sid and Jessica Daley as the hard-hearted Lynette are all excellent.

This is not going to challenge your intellect but, was never intended to. It is a piece of easy escapism that will entertain both fans of the film and those new to the story.

Runs until 15 September 2018 | Image: Manuel Harlan

This review was originally written for The Reviews Hub

REVIEW: The Band – King’s Theatre, Glasgow

Firstly, a fact needs to be stated that this is not the Take That story. The words Take That are never uttered in the entire two and a half hours of the show. You would also be mistaken for thinking that the boyband recruited from the BBC reality show Let It Shine were the crux of the production, and while they feature large, they are far from the centre of the story.

Instead, it’s a story of five friends that spans 25 years. A story of growing up, love and loss, opportunity unfulfilled, of hope, peppered throughout with the hits of the biggest British boy band of the past quarter of a century. It is also more story with music rather than jukebox musical.

Writer Tim Firth clearly has the target demographic in his sights. The mature version of these 90s teens are the heart of the show. Take That the soundtrack to their lives. The pop culture references abound: Smash Hits posters on bedroom walls, Top of the Pops, Ceefax, cassette taping Top of the Pops, it unashamedly taps into the unquenchable thirst for nostalgia.

This is clearly a show of two halves: the central quartet of Heather (Emily Joyce), Rachel (Rachel Lumberg), Claire (Alison Fitzjohn) and Zoe (Jayne McKenna) are fine actresses with a wealth of talent, and it is only when the story fully centres on this quartet that it achieves any real depth. Tim Firth’s dialogue for the mature characters is utterly believable, it is less so for their teenage versions, where it is largely contrived and one-dimensional.

The quartet’s younger selves are played by Katy Clayton (Heather), Faye Cristall (Rachel), Sarah Kate Howarth (Claire) and Lauren Jacobs (Zoe) with Rachelle Diedricks as teenage pal Debbie. Their schoolgirl antics, while familiar, are a tad contrived and their diction is poor, rendering most of the lines a garbled mush. The first half also suffers from a strange selection of Take That songs that don’t exactly fit the narrative. With a back catalogue as fine as this, the choices seem plain odd.

‘The Band’ as played by Five to Five: A.J. Bentley, Nick Carsberg, Curtis T. Johns, Yazdan Qafouri, Sario Solomon prove just how good Take That were, and still are. These songs, while seeming easy to sing, just aren’t, and the quintet while having a solid go at it, never fully do the songs justice.

For anyone who has ever seen Take That live, the set design will look familiar. The production values of the band who are the producers of the show are replicated here. It’s big and bold and the stage is jam-packed with effects.

This show has had it’s fair amount of flak, its detractors have been many, but there’s a fundamental question to be asked: are they the target audience? I am pretty sure that the producers made no claims to enlighten or educate. Indeed, the programme notes say it’s a “love letter to the fans”. It’s intended for the Take That fandom, if you’re here and you’re not a fan of Take That, I’d question your choices. Sometimes theatre is made just to be entertaining. But, this reviewer is very much the target demographic, like most of the audience, knowing the words to every one of these tunes and willing this to be a joy, and while the second half was superior to the first, it ultimately doesn’t do enough to overcome its faults. I am sure The Band will be a satisfying night’s entertainment, a piece of pure escapism and nostalgia for many and it may fulfil its brief as ‘a love letter to the fans’, but for this audience member, there are more feelings of disappointment than delight.

Runs until 7 July 2018 | Image: Matt Crockett review originally written for and published by The Reviews Hub.

 

REVIEW: Side Show – West Brewery, Glasgow

Based vaguely on the true story of British-born conjoined twins Daisy and Violet Hilton, vaudeville performers of the 1920s and 1930s, Side Show isn’t your average, jaunty musical. Instead it’s the story of two women with very different inner lives, forever joined, whose hopes and dreams are subsumed by the other, their individual potential never to be fulfilled.

Violet wants a home, a husband, a ‘normal’ life, Daisy desires fame, fortune and the bright lights of the Orpheum circuit. Those whose care they’re in, their only aim – to make as much money as possible exploiting them. Would-be impresarios  Terry and Buddy enter their lives, to, on the surface, help the twins escape their side show lives, only to in turn exploit them for their own ends.

The cast of self-proclaimed ‘freaks’ who populate the side show include a bearded lady, the Cannibal King, a human pincushion and a lizard man. Played here by a cast of actor/musicians in minimal costume/makeup.

Having the distinction of having failed twice on Broadway, this 1997 musical is rarely seen and it is easy to see why. The faults lie entirely with the writing and not the performers.

Act One plods and it takes until well in to act two for it to hit any kind of dramatic stride. It barely scratches below the surface of these complex women’s lives. There’s a lack in variation in tone, too many songs and a discomfort at the subject matter that doesn’t sit well with the modern psyche. The book is quite frankly, badly written and the lyrics tediously bombastic.

What is a winner is the cast. Despite fighting with an overly loud band (that sounded frequently out of tune) and questionable acoustics (although in a hugely atmospheric venue) that deadened the lyrics almost entirely, the cast gamely fight on. Their quality never in question. On the occasions they managed to break through the cacophony they are sublime. Their harmonies glorious. Grace Galloway is magnetic as twin Daisy, overshadowing the less effusive (as her character dictates) Violet from Emma Harding. Callum Marshall’s (Sir) vocals are unfortunately drowned out by the band and the lyrics are lost in the important first few songs that establish the plot. None of this is Marshall’s fault as he is visibly projecting. The ensemble are talented, but it sounds as if musicianship is not their forte and the playing space is sprawling (long and narrow) leading to the audience’s focus dancing all over the room uncomfortably.

A brave attempt but it doesn’t feel fully thought through by the production team. What seems like a match made in heaven – unusual, atmospheric venue and a musical set in the 20s/30s about side-show freaks – doesn’t work in reality. There are practicalities that need to be thought out when you present to an audience. Their viewing experience is paramount. If the sound is distorted by the venue and the staging renders watching it a physical feat, you are doing a disservice to your viewers and also your actors, whose undeniable talent is masked through no fault of their own. All of this added to the fact that Side Show just isn’t a very good show, makes this a rare misstep from RCS.

Performances at West Brewery until 23rd May 2018.

REVIEW: The Rat Pack Live From Las Vegas – King’s Theatre, Glasgow

Aiming to recreate the heyday of Frank Sinatra, Dean Martin and Sammy Davis Jr, The Rat Pack Live From Las Vegas has the potential to be a huge crowd-pleaser. The show, created by Mitch Sebastian has been doing the rounds both on tour and in the West End since 2002 with little change to its seemingly successful formula.

It’s the early 50s, the Sands Hotel and not only are the Rat Pack in town but Jazz legend Ella Fitzgerald is too. While it aims to create that Las Vegas glamour, the set is simplistic: the band on a raised platform, a grand piano, some stools and a representation of the Sands famous logo, are all that decorates the set, so it’s down to the music and the performers to sell the show.

First impressions are good, the band, under the tight musical direction of Matthew Freeman, are outstanding: crisp and pin-sharp, they recreate the sound of the best of the big bands, Freeman also has a fine, fine touch on the piano. Garrett Phillips as Frank Sinatra also makes his mark, recreating Sinatra’s sonorous tone perfectly as well as his idiosyncratic phrasing, although he’s entirely wooden as he moves around the stage. David Hayes has captured some of the voice, but is the least co-ordinated Sammy Davis Jr you are likely to see – for a man renowned for his dancing skills, you can’t help think they could have tried a little harder in the casting and while a heavily panstick-ed Nigel Casey has Dean Martin’s shtick down-pat and moves well, he is often over-powered by the band. Nicola Emmanuel as Ella Fitzgerald makes a fleeting appearance and while entirely competent, fails to make much of an impression.

While there is a fair representation of the main trio’s biggest hits: I’ve Got You Under My Skin, Mr Bojangles, That’s Amore, to name a few, there are some less well known numbers that will either delight or frustrate. In the case of this reviewer, it frustrates somewhat. With three (and with Fitzgerald, four) artists with such rich back catalogues, there is space to make this an evening of out-and-out highs, however, the uneven nature of the song choices means the evening never really hits its stride. That coupled with some utterly cringe-worthy linking dialogue and an attempt at humour in the second act, that falls flat on its face – you can feel the tumbleweed slowly making its way across the stage – you can’t help feel that it’s all an opportunity missed.

There’s undoubtedly talent on the stage, both in the singers and musicians, but their potential is not being exploited. It’s time to get rid of the sexist, racist and homophobic banter and while there’s an argument that it’s reflective of the era represented, it’s just lazy, especially with a cast with so much to give musically – less chat, more music please. These artists and they way they sang these songs can speak for themselves. An overhaul is needed to get the most from the music and the cast. Still an enjoyable evening if you concentrate on the music and ignore all the filler.

Runs until 10 February 2018 | Image: Betty Zapata

This review was originally written for The Reviews Hub here

REVIEW: London Road- Royal Conservatoire of Scotland Chandler Studio Theatre, Glasgow

That anyone thought that a musical about the serial murders of five sex workers in sleepy Ipswich in 2006 would be suitable source material for a musical, might rightfully have been called utterly misguided – thoroughly insensitive, in fact, but that’s the premise for Alecky Blythe and Adam Cork’s London Road.

Delivered verbatim style, the lyrics are culled from interviews that creator Alecky Blythe conducted with the real inhabitants of London Road. The musical a reflection of how the residents, sex workers and media dealt with the terrifying and sensational events unfolding around them.

This work defies every preconception you might have about it. It is thoughtful, intelligent and utterly compelling and there’s not a whiff of exploitation or sensationalism throughout (neither the killer, Steve Wright (dubbed the Suffolk Strangler) nor his victims appear (save for a ‘blanket over the head’ moment when Wright is rushed to the courthouse). Each group involved are given their voice, no matter how unpalatable or un-PC it might be. The honesty and raw truth of it all is what sets it above its contemporaries. The plaudits the work received on its debut at the National Theatre, utterly deserved.

The work is in the safe hands of the 3rd year BA Musical Theatre students at the Royal Conservatoire of Scotland, under the direction of Philip Howard, and their quality and commitment to the work, make it unmissable. The large ensemble cast is faultless. The set design from Meghan Grieve, suitably dark and atmospheric, with an abundance of beautifully realised tiny details, the choreography by EJ Boyle is innovative and eye-catching. The only gripe would be the ear-splittingly loud band which overpowers the vocals and drowns out the lyrics at times.

This is a work of the utmost quality and a refreshing change to the lightweight musical theatre fluff that abounds – tickets are like gold dust, but if you can secure one – you won’t regret it.

Runs until 1 December 2017

REVIEW: Soho Cinders – Webster’s Theatre, Glasgow

It’s refreshing to see George Stiles and Anthony Drew’s little seen modern adaptation of Cinderella, Soho Cinders being staged in Glasgow, and highly anticipated when you know it’s Mad Props Theatre Company who are producing it. Known for fearless and original choices in their artistic output, Soho Cinders is another first for the company.

Life isn’t going well for skint student Robbie. His mother has died, and his lap-dancing club owning step-sisters have upped the rent on his beloved late mum’s launderette where he works and threatened to turf him out, coupled with that he’s fallen in love with the bisexual, engaged to a woman, London mayoral candidate, James. Oh, and to complicate matters even further, he’s also involved in a rather unconventional financial arrangement with a ‘fairy godfather’ Lord Bellingham.

The path of true love never runs smooth and needless to say there’s many a twist and turn until our Robbie is reunited with his mobile phone (the contemporary version of a glass slipper) and boy gets boy in the end.

There’s potential for Stiles and Drew’s work to be a bit more biting and make a bigger statement, but it remains a lightweight piece of fluff. The characters have been created with broad brushstrokes and the simplistic storytelling undermines the more serious points the musical is trying to make.

It has the feel both in tone and musically of Legally Blonde and Mamma Mia. There are also musical snippets that are reminiscent of Jesus Christ Superstar of all things. That said, the entire score is varied in style and pleasant on the ear. There are some knock-out tunes too – in particular, They Don’t Make Glass Slippers, sung by Mad Props stalwart Dominic Spencer (Soho Cinders marks his welcome return to the stage) they need him to elevate this average musical to something special, and he does. His rendition of this haunting ballad will leave you with goose-bumps. Marie-Anne McGrattan and Louise Daly-Creechan as Robbie’s grotesque step-sisters generate the lion’s share of the laughs, they look as if they’re having a ball and their energy transmits to the auditorium.

The supporting cast are universally solid and Jon Cuthbertson delivers a particularly repulsive turn as political aide William (his storyline uneasily resonant in light of the current sexual harassment scandals). Less successful is Stuart Taylor as Robbie’s love James. His voice doesn’t sound fully warmed up and it is often inaudible. On a side note, and a great coup for the company, the voice of Big Brother, Marcus Bentley provides the dead-pan narration.

Well worth watching for musical theatre aficionados who relish the chance to see less frequently staged works, and worth it alone to hear Dominic Spencer back in his finest form.

Runs until Saturday 4 November 2017 at Websters Theatre Glasgow.

Ticket details here

REVIEW: La Cage aux Folles – King’s Theatre, Glasgow

The much-loved La Cage aux Folles has had a long history: from Jean Poiret’s original 1973 play, then the 1978 French/Italian movie production, it became a stage musical in 1983 before becoming the English language film The Birdcage in 1996. It’s surprising to learn that despite numerous Broadway and West End revivals this is the first professional UK tour.

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Georges (Adrian Zmed) and Albin (John Partridge) run the most glamorous nightclub in St. Tropez, where Albin stars as the glamorous drag artist Zaza. When Georges’ son Jean-Michel (Dougie Carter) announces his plans to marry the daughter of a straight-laced homophobic politician set on closing the nightclub, mayhem ensues.

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It’s astonishing to think that this show is nearly 45 years old and even more astonishing to think how long it has taken for attitudes to change. This story of tolerance and acceptance is wrapped up in a blinding amount of sequins and feathers, and yes, it is awash with every camp cliché, but thankfully, Tony Award-winning Harvey Fierstein’s adaptation does justice to both the original subject matter and the message it conveys. It may sound glib to say it, but La Cage aux Folles is truly heart-warming, and the oohs, aaaahs, whistles and boos it elicits from its audience and the absolute warmth with which the whole production is received is enough to melt the most frozen of hearts.

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Gary McCann’s design reads well in the auditorium, the full-on glamour of the club contrasting well with the faded glamour of Georges and Albin’s apartment and the costumes are universally on-point.

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Partridge is an oustanding Albin/Zaza, it is a role tailor-made to showcase his acting, dancing and singing skills and US TV favourite Adrian Zmed is a fine Georges, there’s a deftness of touch in his portrayal of a character that could easily have been rendered a caricature, he is also in possession of a fine singing voice. Dougie Carter as son Jean-Michel is also a stand-out, a fine actor, his classic, musical-theatre tenor voice is a joy. Unusually, and wonderfully, there isn’t a single weak-link in the entire production.

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This is a production that will put a spring in the step and a song in the heart of even the most jaded theatre-goer. In a theatre scene brimful of repeated revivals and lacklustre works, this is a breath of fresh air – a genuine must-see.

Runs at Glasgow, King’s Theatre until Saturday 29 July 2017

All images: Pamela Raith

 

 

 

 

REVIEW: Wonderland – King’s Theatre, Glasgow

In Gregory Boyd and Jack Murphy’s Wonderland, their take on Lewis Carroll’s Alice in Wonderland, Alice is now a 40-year-old divorcée. After a particularly bad day: lost her job, car stolen, ex-husband about to get re-married (you get the picture), the White Rabbit appears to Alice and her teenage daughter Ellie. Alice follows Ellie and her next-door neighbour (and secret admirer) Jack down the rabbit hole (a broken high-rise lift shaft) so far, so psychedelic and the trio embark on a voyage of discovery and redemption for both Alice and the whole of Wonderland.

Despite initial impressions that this is merely a modernised Alice, it’s actually a riff on finding yourself, moving forward instead of remaining mired in the past and the corruption of power, with a few dozen extra plot lines unfamiliar to anyone’s who has read Carroll’s work thrown in for good measure. All wrapped up in such a coating of saccharine sweet sentiment that any message it hoped to convey is in a diabetic coma. The song titles alone indicate the production’s intentions: I Am My Own Invention, This is Who I Am, I Will Prevail.

Festooned in eye-popping visuals (it’s a rainbow smorgasbord of colour) and delivered at road-drill volume, this mish-mash relies heavily on its performers to keep the attention, thankfully, they are largely excellent. Leading lady Rachael Wooding is a fine-voiced Alice as is Jersey Boys veteran Stephen Webb who provides some memorable comic relief. TV favourite Wendy Peters particularly impresses with a phenomenal set of pipes. Less successful is Naomi Morris as Alice’s daughter Ellie, in a rush to machine-gun her lines out, they are completely garbled. The supporting performers and ensemble are universally strong.

While the songs are executed well, they are largely forgettable and every one of them, two verses too long. It’s all a bit Eastern European Eurovision Song Contest circa 1990. Untroubled by any sense of self-doubt or skills of self-criticism, it’s never knowingly understated.

While this is a colourful spectacle with a fine cast, the material is just too in your face and the sentiment too forced to have any impact.

Runs until 8 July 2017 | Image: Paul Coltas

This review was originally written for The Reviews Hub

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