Review | BILLY ELLIOT LIVE (DVD/BluRay) November 2014

Billy Elliot first hit screens in 2000, 14 years on the winner of Best British Independent Film returns to screens but in an entirely different way. In 2005 a musical version of Lee Hall and Stephen Daldry's heart-warming British story hit the West End stage and hasn't looked back. in an incredibly successful 9 years, the production with music by Elton John recently celebrated its 4,000th performance and was streamed live into cinemas across the UK on Sunday 28 September 2014 and subsequently around the world. The DVD release of the broadcast, starring Ruthie Henshall as Mrs Wilkinson is out on 24 November. 

What has previously struck me about stage recordings on film is that live broadcasts can have an underwhelming rawness about them. Often a sense of lack of camera rehearsal, with limited angles while pre-recorded ones are often too cinematic and you loose the staged element. Billy Elliot Live fits perfectly in between and is beautifully captured. When you see the show live, the intimacy of the production is one of the key factors that draws you into 1980's County Durham and ensures you're right there in Billy's world - this is no different. Whilst some would argue that recordings in no way compare to the live event, the draw of these releases is the opportunity to see up close the excellent acting ability, facial expression and precision of dance technique that you just aren't going to get from the back of the stalls... including some stunning areal shots of the action on stage. 

I remember reading The Guardian's 2005 review of the production, questioning the flying section of the dream ballet, calling to declare the West End a "no fly zone". The breathtaking act 2 sequence is the perfect example of why a recorded version of Billy Elliot is so special, you swoop around the stage, experiencing Billy's flight as you never would - all from the comfort of your sofa. It's a completely different experience to being in the theatre and I don't think you can accurately argue which is better - for this is one entirely unique way to view the show. For this performance only, original Billy Liam Mower returns to play older Billy and it's a beautiful moment, seeing his journey and growth as a dancer, returning to dance with the boy he used to be. Despite that, I do feel for the excellent long-serving cast member Barnaby Meredith, who, for this reason, wasn't able to perform his version of the ballet on film. There is however something about two boys doing ballet together that speaks volumes for acceptance and individuality - a theme that's right at the heart of the show.

There is an incredible performance from the young Billy - Elliott Hanna who was only 10 years old when he made his first appearance in the show - making him the youngest boy to ever play the role. Hanna comes across very well on screen as an obvious triple-threat performer. His sheer talent and undoubted cheekiness defines him as one of the ultimate Billy Elliot's. Ruthie Henshall delivers all the twists and turns of Mrs Wilkinsons life, she can be both glamorous and utterly exhausted as she tries tirelessly to win over Billy's father - Deka Walmsley. Ann Emery, who has been with the production since it's beginnings is as ever, excellent and provides great comedy as Grandma. Zach Atkinson steals much of the number 'Expressing Yourself' as Michael, a lovable portrayal of Billy's cross-dressing friend.

Perhaps the large-scale success of Billy Elliot is down to it's heart. The production is not overly "showy", glitzy or full of tricks, it's brutally honest and at times is gut-wrenching, devastating but it instils hope and this recording stays true to the theatrical experience and delivers the same amount of emotion. This is a unique opportunity to experience the stage show as you've never seen it before. 

This recorded production ends with an incredible dance 'mash-up' presented by 25 current and former Billy's - a fusion of dance styles that makes for a thrilling end to the show. Exclusively for this filmed performance, there's a palpable sense of unity as this exclusive community all join in unison for the rousing tap section. 

Extras include a 'behind the curtain' look into the making of the musical, it's less of a backstage feature as the name might suggest but insightful interviews with Elton John, choreographer Peter Darling and the rest of the creative team and cast including Ruthie Henshall. There is also an introduction from Billy himself, Elliott Hanna who takes you from the stage door onto the stage, and backstage - revealing some of the secrets from the show. 

If you get this as a present for Christmas, whatever you do - don't, like Michael, swap it for a Cindy The Nurse! Out on 24 November. Purchase here.

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PLEASE NOTE THE FOLLOWING COMPETITION HAS NOW ENDED.

From reading the review, or by watching  the clip below with director Stephen Daldry, simply tell us how old was Elliott Hanna when he first started playing the role of Billy? Submit your answer via the contact form at the bottom of the blog with your name, email address and answer in the 'message' box. Only one entry per person. 2 lucky winners will be selected from correct entries at random to win a copy of Billy Elliot Live on DVD. Closing date for entries is 23:59 on Thursday 4 December 2014. Good luck!

Review | DIRTY ROTTEN SCOUNDRELS THE MUSICAL (Savoy Theatre) August 2014

Based on the 1988 movie starring Michael Caine and Steve Martin, Dirty Rotten Scoundrels The Musical began life in California in 2004, moving to Broadway in 2005. Almost a decade on, a brand new production now plays at London's Savoy Theatre, directed and choreographed by Jerry Mitchell. 

On the French Riviera, Lawrence and Freddy, two conmen (one notably better than the other) unite on their biggest job ever whilst trying to woo and con 'millionaire Soap Queen' Christine Colgate. 

The pre-show curtain sets the scene, like a giant postcard of seaside village Beaument-sur-Mer. From the moment it lifts you are transported into the perfect theatrical world full of glorious glitz and glamour. What's great is that this feels like one of the classics - the MGM musicals, but with the added bonus that in the UK, it's less than a year old. It's remarkably fresh and evidently has one of the most successful casts in the West End. 

Robert Lindsey tops the bill, suitably suave as Lawrence Jameson. Irresistibly charming, he glides his way through, managing a convincing, likeable and thoroughly entertaining lead almost effortlessly. His counterpart, Freddy is played by Andy Conaghan during Rufus Hound's absence from the show in August. A polar opposite in terms of sophistication, Conaghan is particularly hilarious as Ruprecht, a strange brother invented to deter Lizzy Connolly's comedic, scene-stealing Jolene. 

The two ladies, Samantha Bond as Muriel and Katherine Kingsly as Christine Colgate are both excellent. Bond enjoys an amusing relationship with John Marquez's Frenchman Andre and displays utmost elegance, Louis Vuitton luggage in hand. Kingsly's entrance routine injects further energy to a fast-paced first act, helped along by a fine ensemble, used perfectly to portray other parts and provide the show's hugely exciting choreographic element. 

Peter Mackintosh's set design is stunning and scenery changes are slick - there are moments of pure genius. There is an overwhelming sense of luxuriousness that makes even a mid-week matinee feel like a Saturday night in Monte Carlo. This is the show that gives them what they want, nothing cheap or cheesy, just pure glitz, glamour and entertainment from start to finish. Simply unmissable! Buy (or con people into buying) tickets here. 

Watch the show's trailer:

Maybe you like cool things like time-lapses of a set get in!

Cast List: Robert Lindsey, Rufus Hound, Katherine Kingsley, Samantha Bond, John Marquez, Lizzy Connolly, Gavin Alex, Darren Bennett, Niamh Bracken, Lisa Bridge, Andy Conaghan, Claire Doyle, Alice Fearn, Selina Hamilton, Ian Knauer, Zak Nemorin, Genevieve Nicole, Javier Santos, Todd Talbot, Dominic Tribuzio, Zara Warren, Darren Carnell, Phoebe Coupe, Lisa Mathieson, Jon Tsouras

Feature | KERRY ELLIS RETURNS TO WICKED (London) August 2014

After the departure of Willemijn Verkaik from the London production of Wicked, it was announced that Kerry Ellis will return to the show from Monday 4th August until Saturday 25th October 2014. Kerry, the first British Elphaba has also performed the role on Broadway at the Gershwin Theatre. In celebration of her return, we look back over Kerry's emerald career. 

Serving as a temporary standby to Idina Menzel, Kerry was part of the original London production at the Apollo Victoria Theatre for three months from the show's opening on 7 September 2006. After playing the role as a standby on nine occasions, Kerry assumed the lead role on 1 January 2007 when Idina Menzel left. The role saw Kerry as the winner of the 2008 Whatsonstage.com Theatregoers' Choice Award for Best Takeover in a Role. Kerry left the London production on 7 June 2008. 

It was pretty much immediately after leaving London that Kerry transferred to the Broadway production with performances starting on 17 June 2008. She replaced Stephanie J. Block; making her the first British actress to play Elphaba on Broadway and the first to transfer from the West End to Broadway. Kerry won the 2009 Broadway.com Audience Award for Favorite Female Breakthrough Performance.

Later in 2008, Kerry performed a rock version of the famous Defying Gravity at the Royal Variety Performance with Queen's Brian May. The pair have subsequently gone on to perform in many tours together and have produced numerous albums including Anthems in 2010. 

Whilst in New York, Kerry worked on her first EP, Wicked in Rock, produced by Brian May and Steve Sidwell. This was the birth of Kerry's epic version of "Defying Gravity" that she later performed at the Royal Variety Performance. "I'm Not that Girl" from Wicked and the Queen song "No-One but You" that she and May recorded six years earlier (a result of her popular performance as Meat in We Will Rock You) appeared on the EP. Kerry left the Broadway production on 9 November 2008.

Kerry preparing backstage. Photo Logan Riehl. 

Returning to the West End production on 1 December 2008, she would then go on to play a further five months as Elphaba where until now she ended her time as the 'wicked' witch. After her final performance on 9 May 2009 Kerry had been billed as lead for a total of 116 weeks (omitting absence) in both the London and Broadway companies, making her the longest-serving British actress in the role of Elphaba at the time.

Most recently, in July 2014, Kerry performed "For Good" - Wicked's final song between the two leading ladies with original Broadway Glinda, Kristen Chenoweth at the Royal Albert Hall.

About her 2014 return, Kerry said "It is an absolute thrill for me to be returning to this amazing show and the incredible role of Elphaba that is so very special to me. I can't wait to be green again and join this fantastic cast".

Kerry Ellis will not be appearing in Wicked on Tuesday 19th August, Saturday 27th September, Thursday 2nd October - Friday 10th October, Tuesday 14th - Thursday 16th October and Saturday 18th October due to her concert appearances. Book tickets for the London production here. 

After Kerry, Nikki Davis Jones begins performances as Elphaba in the West End production. Nikki is currently performing the role in her final venue of the UK tour at Birmingham Hippodrome alongside Liam Doyle as Fiyero (who also plays his final performance in Birmingham) and Emily Tierney as Glinda. Book tour tickets here. 

Review | THE PAJAMA GAME (Shaftesbury Theatre) June 2014

Following the success of Sweeney Todd, Singin In The Rain, Another Country and Barnum, The Pajama Game is but another Chichester Festival Theatre production that enjoys the opportunity of a transfer. 

The musical, set in 1950's America begins where a strike is imminent at the Sleep-Tite Pajama Factory. The workers churn out pajamas at a backbreaking pace and demands for a seven-and-a-half cent raise are going unheeded. In the midst of this ordeal, love blossoms between Babe, the grievance committee head, and Sid, the new factory superintendent. 

The Company

For this musical, what's particularly fascinating is the age of the piece in comparison to it's relevance. Of course, love stories are timeless but at the centre of it all is a workforce struggle, seven and a half cents doesn't buy a hell of a lot, it echoes similar situations in once-thriving businesses now. Just as Billy Elliot and The Full Monty tackle similar situations there's comedy right at the heart. Principally, it is Gary Wilmot in the role of Vernon Hines who is ultimately there for the laughs, with comedy knife throwing and a Red Indian outfit! With a great rendition of Think Of The Time I'll Save, Wilmot remains incredibly charming throughout. 

It is Michael Xavier who impresses vocally as Sid Sorokin, at one point there's a clever duet with his own voice on dictaphone.  Xavier is perfectly partnered Lauren Varnham, who covered the role of Babe for the first time at this performance. Beautiful in every sense of the word, she is in fantastically fine voice,  has boundless energy and is perfectly cast, deserving of a lead role. It is a terrible shame that more won't be get the chance to see her in what is definitely her most rounded, mature and captivating role of her career so far. Eugene McCoy is worthy of mention in the role of Union President. 

Michael Xavier

Steam Heat is perhaps one of two choreographic highlights, an incredibly entertaining dance break from the main action packed with daring lifts and exciting tap. The other, Hernando's Hideaway is a perfect example of Stephen Mear's breathtaking choreography. The finale is an uplifting pajama-clad celebration that leaves you singing in the street long afterwards and a desire to get home and slip into some luxury loungewear! 

Richard Eyre's revival of The Pajama Game is an incredibly joyous affair. It's theatre at it's very core, there's nothing overly complicated it's just 2 hours and 40 minutes of serious fun. As far as revivals go, Pajama's is at the top of it's game! 

See The Pajama Game at the Shaftesbury Theatre until Saturday 13 September. Book tickets online here.  "Hurry up, can't waste time!" as they sing...

THE PAJAMAS

You can't do The Pajama Game without pajamas, and who better to turn to than Derek Rose - a company established in 1926, a brand unrivalled in luxury using the finest silks and cottons with unprecedented passion and drive. Derek Rose supplied the pyjamas used in the 1954 production at the London Palladium and have once again provided them for the latest revival of the musical. For three lead roles, The Pajama Game team wanted something a little more unique and custom designs were specially created in consultation with the show’s costume designers and all made in Cheshire, UK. Derek Rose created 7 pairs of men’s and 7 pairs of ladies’ pyjama designs which are from fabrics picked out from their archives and reissued just for the production. To view a full range of products, visit the website here. Below is a particular favourite from the collection, the Duke 1 Navy Cashmere Dressing Gown, fully lined in the finest Italian silks... I wouldn't object if anyone wishes to buy me this!

Find out about the job of the wardrobe department, backstage at the Shaftesbury Theatre with Paula McIntosh

Cast List: Joanna Riding, Michael Xavier, Gary Wilmot, Alexis Owen-Jones, Claire Machin, Colin Stinton, Eugene McCoy, Siôn Lloyd, Jennie Dale, Sharon Wattis, Keisha Amponsa Banson, Lauren Varnham, Helen Ternent, Jo Morris, Nolan Frederick, Richard Jones, Dan Burton, James O'Connell, Pippa Raine, Stuart Winter. 

INTERVIEW with Keith Chegwin - October 2013

Christmas is undoubtably a busy time for anyone but for TV funny-man Keith Chegwin it's even more so. Last year he appeared on the eighth series of Dancing On Ice after intense training during a four week pantomime season. This year Keith is back in pantomime at the Wyvern Theatre, Swindon but not before returning to the ice at the London Palladium! Keith took the time out from rehearsals to talk about his busy schedule. 

Where did your love of ice skating come from Keith? Was it something you've always enjoyed or was Dancing On Ice your first experience of it?

Dancing On Ice was the first sort of real serious experience of skating but when I was about twelve I went to a stage school with Phil Collins and his sister Carol Collins was a champion ice skater! We stayed with her for a little while and she took me to the ice rink and I got to learn a few things but then I just stopped it. Two years ago Dancing On Ice phoned up and it was between that or Strictly Come Dancing and obviously I chose Dancing On Ice and it's been my love ever since!

I've caught you in the middle of rehearsals here because you're about to take to the ice again with the Imperial Ice Stars at the London Palladium?

Yeah, The Nutcracker On Ice! It's such an honour, it's a bit like the Royal Ballet phoning up and saying "Oh we're doing Swan Lake, have you got any tights? Can you help us out!?" ... These guys on ice, it's a different kettle of fish isn't it, Dancing On Ice is fantastic and I can't tell you how much I'd recommend anybody go off and do it but they're restrained to health and safety - this it's just away you go! These are 26 Olympic athletes that between them own over 250 medals for Olympic and Commonwealth games and I think to myself "Oh my God... I've only won the Radio Lollipop award!"

And this is the London Palladium we're talking about here... how are the nerves?

Well it's weird, I've never really suffered from nerves, I suffer from excitement! I get really buzzy about things, yesterday in rehearsals I was that excited I was just catching my blades all over the place! My ambition for this is when you see us come on stage you won't know it's me! You'll think "oh no that's one of the profes.... oh no, it IS Keith!" - I want my skating to be up to scratch really. But the London Palladium for us old people is like the O2 now, it's the climax of your career. 

Keith and partner Olga Sharutenko the last series of Dancing On Ice 

People don't really appreciate what all this is about though. When I say to people I'm in The Nutcracker they're like "oh, okay..." but no, this takes you into a fantasy world - we're flying in it and there's magic and for the first time ever I shall be on stage and not shouting "Wey Hey!" or "it's behind you!" 

So what can we expect from the pantomime afterwards then? Back to Keith we know and love?

Oh I don't know, I might leave my skates on, it has been done before! Last year one of the characters in our panto had his roller skates on and went round the stage! He was really good ... he has been in Starlight Express though! I shall be sad to take my skates off really but I do love panto as well, especially at the Wyvern Theatre in Swindon - Jack And The Beanstalk this year, come and see us! It's my third year back there and it's like coming home to family! Everyone backstage and front of house are all really nice people and the audiences are great. I remember the best compliment I was ever given was from the theatre manager Derek Aldridge and he said "Keith, can you just calm it down because the kids keep jumping up and wrecking the seats!" Haha, I was likes yessss!! I've done my job! 

Keith in last years pantomime Aladdin at the Wyvern Theatre, Swindon

You can see Keith reunited with his Dancing On Ice partner Olga Sharutenko in The Nutcracker On Ice at the London Palladium from 24 October - 3 November by booking tickets here. Tickets are between £21 and £76. Following that you can catch the show at the Wales Milennium Centre, Cardiff from 8 - 17 November and at the Mayflower Theatre, Southampton from 19 - 23 November. 

You can then see Keith in pantomime, Jack And The Beanstalk at the Wyvern Theatre, Swindon from 7 December 2013 - 5 January 2014. For more information on the pantomime click here. To book tickets click here.

Listen to an extended version of the interview with Keith and dance partner Olga Sharutenko below:

Related Articles
Jack And The Beanstalk (Press Launch)
Aladdin (Wyvern Theatre) Review

JERSEY BOYS (Prince Edward Theatre) Review August 2013

Juke Box musicals often get shunned by the critics and particularly so in recent years with the fight to introduce new writing into the West End. With Mamma Mia in it's 14th year and We Will Rock You in it's 12th, there is proof there is a place in theatreland to celebrate music of the great bands. That is of course as long as the content matches in excellence - perhaps where recent Spice Girls musical Viva Forever fell. 

Jersey Boys is definitely one of the shows that gets it just right. The story of Frankie Valli and The Four Seasons opened in 2005 on Broadway and at the Prince Edward Theatre, London in 2008 and still running in both of it's original homes. 

This is a chronological biography of the boys rise to fame as The Four Seasons, a name in which they took from a bowling alley that turned them down from a job singing in the lounge. Each member of the group takes a turn in narrating a particular season. A young Frankie Vally soon becomes Valli for 'y' according to his wife is a bullsh*t letter. Their relationship is explored and laid bare ending with 'My Eyes Adored You' - sung from the heart by Ryan Molloy who's portrayal of Valli throughout is something of a spectacle itself. Capturing the spirit of Valli whilst retaining individuality this is no mimic but an expert and genius portrayal. 

Tommy De Vito takes us through Spring and his early battles in and out of prison whilst developing a new singing group. Jon Boydon is excellent in the role, particularly gritty as his story develops and darkens racking up large debts with a loan shark. A sharp contrast to the nerdy Bob Gaudio (Edd Post) who is particularly comic towards the end of the first act in "December, 1963 (Oh What A Night)". Covering the role of Nick Massi in the absence of David McGranaghan is Mark Isherwood who makes the role of the bassist his own.  

Edd Post, Ryan Molloy, Jon Boydon & David McGranaghan

"The Crowd Goes Wild" they say... and this isn't an exaggeration. Lengthy applause brought all action to a halt countless times after renditions of 'Walk Like A Man' and 'Working My Way Back To You'. There aren't so many theatrical "wow" moments in Jersey Boys - that's not what this show is. It isn't there to mesmerise you with grand and elaborate sets, nor does it have great big production numbers and show routines but it is a display of excellent vocals, an incredibly solid book which moves at perfect pace resulting in an enjoyable and interesting insight into the four Jersey boys. 

Booking until 9th March 2014 at the Prince Edward Theatre (Book Here) after which the hugely anticipated return of Miss Saigon opens there and from 14th March 2014 Jersey Boys opens at the Piccadilly Theatre (Book Here).

(And they do nice programmes!!)

SPAMALOT (Playhouse Theatre) Review June 2013

I blogalot about touring productions and Spamalot has most certainly done the rounds now. Since 2010 the show has toured the length and breadth of Arthur's Kingdom and in 2012 found a permanent home in the West End. Having played a limited 6 week run at the Harold Pinter Theatre, Spamalot transferred to the Playhouse Theatre where it has been making audiences laughalot since November 2012. 

After interviewing Joe Pasquale at the launch of this year's Wolverhampton pantomime (click here to read) it was with merry delight that I dancedalot when given the opportunity to review the latest King of the Britons. Starring for a limited six week period until 27th July, Joe appears alongside theatre goddess Bonnie Langford as the Lady Of The Lake. 

Eric Idle and Jon Du Prez's musical is lovingly ripped off from Monty Python's The Holy Grail and is a conglomeration of various Python anecdotes from the other films and TV series. We follow King Arthur and his noble steed Patsy (Michael Burgen) along with knights (not days, but knights) of the very round table on a quest to find the grail and eventually turn the whole thing into a musical...

You won't succeed in the West End if you don't have any stars and this production is full of them. Not only the big name stars - Pasquale and Langford, but in the supporting cast. Michael Burgen is a charming Patsy who gets to sing Always Look On The Bright Side Of Life. Adam Ellis is a delight not only as Not Dead Fred (who can dance, sing and do the highland fling) but also in a hilarious turn as  the flamboyant Prince Herbert - with an incredibly strong falsetto. Rob Delaney receives great applause for the high energy You Won't Succeed in Showbiz. Kit Orton has fun not only as the homicidally brave Sir Lancelot but as the Knight Of Ni and in one of the shows most hilarious side-splitting moments as the French Taunter. Robin Armstrong has been with the production since it began touring in 2010 and keeps the most hilarious facial expressions throughout as the strangely flatulent Sir Bedevere. Jon Robyns as the dashingly handsome Sir Denis Galahad when duetting with Bonnie Langford brings a matinee audience to rapturous applause with The Song That Goes Like This.

Jon Robyns and Bonnie Langford (Photo by Manuel Harlan)

The diva role in any musical always steals the show and Bonnie Langford certainly wows the crowd. There is such a warmth that she oozes and you know to expect no less from the seasoned professional who riffs her way through the songs, raising the roof and beaming that famous and most charming smile.

Joe Pasquale is almost like his pantomime characters, the loveable jester, but here he finds himself King, which lends well to the insane plot. Hugh Durrant has created the most charming little set and there's a fine orchestra. It doesn't drag on either, at two hours long Spamalot is just concentrated hilarity from start to finish. It's bold, it's brash, it's British (and a little bit French) and you'll laughalot til you cryalot.

If you're not yet dead or in bed with the plague then you must book tickets! Don't be a Doubting Denis or they'll fetchez la vache! - click to book here.

Spamalot now offers a 2-4-1 ticket offer on Tuesday performances, click here to find out more.

Joe Pasquale stars as King Arthur until 27th July 2013 and a new summer schedule comes into effect as of 1st July. Monday - Thursday 8pm, Friday 6pm & 9pm and Saturday at 2:30pm and 8pm.

Joe Pasquale finishes off the year playing Muddles in pantomime at the Wolverhampton Grand Theatre, click here to buy tickets!

Cast List: Joe Pasquale, Bonnie Langford, Michael Burgen, Robin Armstrong, Rob Delaney, Adam Ellis, Kit Orton, Jon Robyns, Eric Idle*, Anouska Eaton, Chris Jenkins, Hannah Malekzad, James Nelson, Nikki Bentley, Graham Newell, Matthew Russell-Jones

*As a visual recording! As they say, "As if we could afford Eric Idle, the God-like comic in these hard times!"

SEARCH FOR A TWITTER COMPOSER (Soho Theatre) SEMI-FINAL ONE MAY 2013

London theatre reviewer and columnist Mark Shenton recently brought to our attention that nearly 8 million people saw a West End musical last year, with the box offices generating a combined income of over £322m. Most of this ginormous sum however is made entirely from the takings of musicals that have stood the test of time or the jukebox musicals that draw in audiences using the back catalogue of popular bands and artists. Whilst it's great to have Les Misérables and Phantom Of The Opera still going strong after over 20 years, Mamma Mia, We Will Rock You and The Lion King each over 10 it's disheartening to learn that the new writing and the young and upcoming composers aren't given half of the opportunity to showcase the future of musical theatre. We're headed for a London theatreland of jukebox musicals and play-safe revivals. 

This is where Michael Peavoy Productions comes into play. Producer Michael Peavoy recently finished playing Tony in Billy Elliot at the Victoria Palace and has since become a leader of the musical theatre revolution. Teaming up with theatre impresario of unknown identity - West End Producer (WEP) Peavoy's Search For A Twitter Composer sets out to actively search for new talent and showcase it in the limelight it deserves, and hopefully getting a production off the ground. 

The admissions process was simple - the applicants (all of whom use social networking as a launch platform) uploaded their entries to SoundCloud and YouTube. 99 entrants uploaded 219 new songs which after a week of voting resulted in 14 semi-finalists chosen by 9,957 online voters. 

Ushers: The Front Of House Musical

The first 7 semi-finalists performed yesterday at the sold-out Soho Theatre. James Oban and Yiannis G. Kotsakos' musical Ushers: The Front Of House Musical was first up. The great thing about this musical is the fact that many London theatre ushers are performers themselves so it combines both sides of theatre and is humorous in recognition of pricey programmes, picture brochures, ice creams and the rule of having to pour all drinks into plastic glasses. It's completely true and only ten minutes before the competition began I had witnessed a woman having to pour a whole bottle of wine into about 5 separate cups before she could go in! You can listen to the opening number 'Welcome!' below...

Ushers: The Front Of House Musical was performed by Adam Colbeck-Dunn, Ciaran O Driscoll, Kirsty Marie Ayres, Lydia Grant and Nathan Lodge. 

Flora Leo's The Lightning Road was second up - a musical drama set during World War II. Played passionately by Leo 'When Lightning Strikes' is sung by Harper Vickery.

Fantatical was the next musical, by composer Matt Board. The musical started life back in 2006 and is set at a Sci-Fi convention and is about what it means to be a fan. We're all fans of something and Andra's song 'You Should See Her Fly' explains her idolisation for her favourite TV character. There wasn't one entry that I didn't like but there was something about Fanatical that won the audience over more so than others - Gillian Ford and Oliver Jones surely made us a fan of this musical! You Should See Her Fly is sung by Matt Board in the version below.

Uncommon Sense by Gavin Kayner and Adrian Colbourne is a musical based on the life of Thomas Paine. A score for extremely strong vocal the performances were delivered by Jordan Lee Davis and Catherine Mort with the chance for beautiful harmony in There Is A Flower. 

CLICK TO LISTEN ON YOUTUBE 

Laura Tisdall's The Inbetween had previously launched a concept album which featured West End performers such as Daniel Boys, Julie Atherton, Hadley Fraser and Liam Tamne. Sung yesterday by Thomas Sutcliffe and Jessie May 'Beyond The Door' and 'Someone You'd Be Proud Of' were both strong performances. Trapped between parallel worlds the musical is the story of Flick Wimple who faces tough decisions about journeying to another world. 

Doctor Who Peter Davison's American companion Peri - Nicola Bryant presented her musical You Belong To Me. Sung by Bindy Baker and Hanna Molloy 'My Heart' was a great female duet (and a really catchy tune!)

CLICK TO LISTEN ON YOUTUBE

The final entry was from Ashley Walsh and Daniel Cartwright with Schindler The Musical, currently in the writing process and production at UCLan. Impressive out-of-London students, and an impressive composition, great effort with presentation as well as arrangement. A bold yet haunting sound. 

CLICK TO WATCH ON YOUTUBE

The judges were director Raz Shaw, Theatre critic Mark Shenton, Choreographer Drew McOnie, Musical Theatre Star (Wicked) Gina Beck, Musical Theatre Network representative Caroline Routh and Perfect Pitch representative Andy Barnes. The judges vote was unanimous and their chosen finalist was Matt Board's Fanatical. Our audience vote went to James Oban and Yiannis G. Kotsakos' Ushers: The Front Of House Musical.

It's really important that we keep encouraging new writing, so follow @MPeaProductions and @WestEndProducer to keep up to date. For tickets to the second semi-final or the actual final visit West End Producer's website, dear... 

BILLY ELLIOT (Victoria Palace Theatre) Review June 2012

I had the pleasure of meeting Brad Kavanagh, an original Michael from this production about five years ago at an awards ceremony we were both nominated for. After hearing about his time with the show I knew it was one I wanted to see. I regret that it took me until earlier this year to actually see it. This was my second visit to Billy Elliot, the British musical that has captured the hearts of audiences world-wide and continues to do so after seven years in London. With five current Billys, four Michaels and four Debbies in the cast, at this performance the role of Billy was played by the latest addition Harrison Dowzell, Michael by Joe Massey and Debbie by Francesca Mango.

(Harrison Dowzell as Billy Elliot)

There were strong performances from all three of the young leads as well as from the chorus of ballet girls. Billy and Michael's tap routine in 'Expressing Yourself' is defintely an audience pleaser.  The elder three leads Gillian Bevan as Mrs Wilkinson, Deka Walmsley as Billy's father and Ann Emery as Grandma provide undoubtably believable performances. Moments of comedy from Grandma leave the audience shocked and giggling.  There isn't one member of cast who doesn't give 100 percent. The standout performance has to be from RADA trained Michael Peavoy as Billy's elder brother Tony, who captures the anger of the miners and plays a raw and polished performance. 

The set by Ian MacNeil is both practical and complex, whilst still managing to be beautiful in design. Lee Hall's lyrics and Elton John's music combined will make you laugh and perhaps induce the odd tear or flood load. 

One of the most visually impressive parts of this show is the dream-like routine between Billy and his older self (Barnaby Meredith). The timing and execution of the routine is nothing less than perfect and when Billy soars into the air it's breathtaking.  It was the Guardian's review in 2005 that stated "Aerial movement has become the musical's biggest cliche; we must declare the West End a no-fly zone." I wholeheartedly disagree, the flying is a beautiful representation of Billy's dream-like state and to declare anything as beautiful as this away from the West End stage would be a travesty. 

Booking until 21st December 2013 Billy Elliot is a must for theatregoers. 
Monday - Saturday 7:30pm, Thursday & Saturday 2:30pm. 
Tickets: £65, £49.50, £37.50, £27.50, £19.50 (Dayseats available on morning of performance, £19.50, front row stalls, very close to the stage.)

Website: http://www.billyelliotthemusical.com

WE WILL ROCK YOU 10th ANNIVERSARY GALA (Dominion Theatre) 14th May 2012

Monday 14th May 2012. 10 years ago exactly the Dominion Theatre hosted the opening of a new musical based on the hits of rock band Queen. The original creative team and producers who were all present on the opening night reunited at the theatre to celebrate the decade of rock.

(Writer Ben Elton, Queen's Brian May and Roger Taylor, Robert De Niro in 2002 and 2012)

As well as the creative team from ten years ago many of the original cast came back to watch. Hannah Jane Fox, Kerry Ellis and Mazz Murray were among them. 

Robert De Niro in 2002 with Tony Vincent (Galileo), Hannah Jane Fox (Scaramouche) and Sharon D. Clarke (Killer Queen) and again in 2012 with the cast including Noel Sullivan (Galileo) and Sarah French (Scaramouche)

The atmosphere inside the Dominion Theatre was electric. As "It's A Beautiful Day" blasted out before the show an exciting introduction projected onto the front curtain charted the show's history throughout it's first decade. 

Stand-out performances came from all of the leads who gave everything all they could. Incredible riffs galore especially from Sarah French and Rachel John as Scaramouche and Meat.

Each seat in the auditorium had a We Will Rock You goody bag with a show comic book, postcard and glowstick. The finale looked amazing as the theatre filled with neon colours. As expected, guitarist and astrophysicist Brian May shot up through a cloud of smoke to riff the hell out of Bohemian Rhapsody. 

The promise of Freddie Mercury returning as an optical illusion was a bit of a disappointment. He 'appeared' only for a few seconds at the end of Bohemian Rhapsody, you could hear him, but could hardly see anything, maybe this was because there was a spotlight on the area, or it just didn't work...

Another disappointment for some in the audience (dressed as Bohemians) was the promise of a best dressed fan competition where the top ten fans decided for on the website won two tickets to the show where the ultimate winner would be called up onto stage to receive a "special prize from a VERY special guest" ... they were all there, dressed up, and nothing about the competition was mentioned and no award was presented. 

Those are the only negatives though, Robert De Niro's presence on stage again was a cue for the audience to erupt into madness. the celebrity guests in the audience kept everyone alert and excited. Spotted in the audience were Warwick Davis and his family, Tim Minchin, Samantha Fox, Chris Tarrent, David Baddiel, Bill Oddie, some 'TOWIE' girls (if you can count those) and supposedly Kylie Minogue (I didn't see her, and none of the press managed to get a picture of her. Maybe she played a similar trick to the Freddie illusion). 

The evening was truly unforgettable, this is another great cast and should you get the chance to see this 10th anniversary cast in action, make every effort to see them. 

Booking until 20th October 2012. Monday - Saturday 7:30pm. Last Wednesday of every month and Saturday's at 2:30pm.

Tickets: £62, £52, £47, £42, £32, £15 (Standing) (BEWARE booking and transaction charges of up to £12.25 PER TICKET do apply at this show when booking online) 

(Day seats available for £30 from 10am - 12 noon on the day of performance, in person from The Dominion Theatre Box Office) 

OFFER: Show Pairs '2 top price tickets for the price of 1' (www.showpairs.co.uk) Valid until 15th September 2012 (excludes 2 - 9 June)

Website: http://www.wewillrockyou.co.uk

GHOST THE MUSICAL (Piccadilly Theatre) May 2012

This was my third visit to Ghost The Musical. I think it's worth reviewing at this point as the show has undergone it's first cast change. Since opening in Manchester and transferring to London last year this April saw Richard Fleeshman (Sam) and Caissie Levy (Molly) transfer to the Broadway production. Mark Evans and Siobhan Dillon replaced them in London in January and the new ensemble in February.

Evans and Dillon are suitable replacements to Fleeshman and Levy, both of whom bring their own style to the roles. I found that both of new leads provide a more "musical theatre" tone to the songs than the rockier originals. But this is musical theatre and so it still works. 

The jewel of this whole production is Sharon D. Clarke as the psychic Oda Mae Brown. In the role made famous by Whoopi Goldberg in the 1990 film, Sharon D. Clarke manages to bring her own crazy characterisation to the stage. Her powerhouse vocals are enough to blow the roof off and both of her songs prove the much-needed comic relief to the show.

Understudying the part of Carl Bruner in replacement of Andrew Langtree was Paul Ayres. He gave us a great portrayal of Sam's 'best friend' and really captured the sinister twist in character with perfection.

Another performance worthy of note is Lisa Davina Phillip who provides comedy gold as Oda Mae's sister Clara. 

The illusions are expectably less exciting after a third viewing. The walking through doors and appearing from nowhere still work well. The letter opening also remains a point of amazement. The scene in which Carl is being punched and shoved by the invisible Sam is a little sloppy in that the workings of some of the 'illusions' are left on show to the audience. Also the lighting reveals the 'secret' as to how characters float away once dead. 

Ghost remains a spectacularly impressive show and one definitely worth seeing, even if for the set and illusions alone. Anything Sharon D. Clarke is in is always worth the money. 

Booking until 20th April 2013. Monday - Saturday 7:30pm, Thursday & Saturday 2:30pm. 

Tickets: £67.50, £45, £25 (Premium Seats £85) (Dayseats available Monday - Thursday performances at £25 on the day of performance at the box office.)

Website: http://www.ghostthemusical.com

(With Sharon D. Clarke after the performance)

SWEENEY TODD (Adelphi Theatre) April 2012

I'd seen the film and loved it but I was a little apprehensive about what to expect as I walked along The Strand towards the Adelphi Theatre. As a great lover of the cheesy, high energy, dance filed, jazz-hands-at-every-second musicals this was to be a bit of a different venture.

We managed to secure great seats in the stalls, in the centre of row N. The stalls at the Adelphi hasn't got the greatest incline so I did find the head of the person in front very much an obstacle. He was a large American man who throughout the pre-show repeatedly expressed his excitement about seeing "the lady Defence Against The Dark Arts teacher from Harry Potter".

The pre-show was great. A lot more interesting than a curtain baring the show's logo. The actors took their time to come onto stage and began cleaning things and setting up for the show. This as a great opportunity to admire Anthony Ward's enormous set before any of the main action distracted you away from it. The set takes inspiration from an abandoned factory which returns to life as the working class ensemble invite you to attend the tale.

This was my first time of seeing Michael Ball in any role. A far cry from Hairspray's Edna Turnblad he was spectacularly haunting in the title role. His take on Sweeney Todd was chilling and captivating as he managed Sweeney's transformation from a grieving traveller to demonic killer.

Imelda Staunton managed well to provide the grim tale with much-needed light humour. Her portrayal strangely manages to draw sympathy from the audience to a character who lovestruck with a killer, bakes the victims in pies.

Other performances worthy of note are Lucy May Barker's portrayal of Johanna - she did the absolute best she could with a character of little attention as did Luke Brady with the smitten Anthony. James McConville succeeded in bringing the innocence to Tobias, you wanted to pluck him from the stage and get him as far away from the dangers of Fleet Street.

The pies may be the worst in London, but the show is definitely one of the best. If it's a shave you're after, I'd go elsewhere, otherwise this is definitely a worthwhile visit.

Performances until 22nd September. Monday - Saturday 7:30pm, Wednesday & Saturday 2:30pm.
Tickets: £67.50, £55, £37.50, £25, £20. (Dayseats available at £25 on the day of performance at the box office.)

Website: http://sweeneytoddwestend.com/