Review | WEST END WOMEN (UK Tour) December 2014

It's a simple premise - three West End legends on stage, a small band and a guest star... it's not entirely elaborate but boy does it pack punch. Three of the most sensational voices in world theatre unite to deliver a plethora of huge hits from the greatest musicals. 

Ria Jones was just 19 when she became the youngest actress ever to play the role of Eva Peron in  Evita - followed shortly by her West End debut in the musical Chess, in which she played the roles of both Svetlana and Florence. She then went on to play Grizabella in Cats, a role in which Joanna Ampil recently finished touring the UK and Europe in. Joanna made her West End debut at the age of 17, replacing Lea Salonga as Kim in the original London production of Miss Saigon - other shows include Les Miserables, Jesus Christ Superstar and Avenue Q. Kerry Ellis completes the line-up, fresh from her own solo concert tour and another run as Elphaba in Wicked. 

All of the ladies treat us to songs from the shows in which they were once a part, memorably Ria Jones' rousing All That Jazz from Chicago and As If We Never Said Goodbye from Sunset Boulevard which ensure that you leave the theatre having found a new favourite star and YouTube immediately. Utterly fabulous. 

Joanna Ampil, Ria Jones & Kerry Ellis

Kerry Ellis treats audiences to a stripped back version of Defying Gravity and changes things up by singing the Glinda part of Wicked's For Good with Joanna Ampil as Elphaba. Joanna's version of Memory from Cats continues to be my favourite rendition and this show just confirms it further that this song belongs to her. My only wish is that this came later in the show, some of the earlier big numbers are mightily impressive and would have been better placed towards the show's latter half and climax.  The biggest treat that Ampil offers is a medley of songs from Miss Saigon that she first performed 22 years ago - ending with a hair-raising Bui Doi. 

The ladies all share one particular role in common - they have all played Fantine in Les Miserables and their group performance of I Dreamed A Dream introduces new harmonies and sounds beautiful in their alternative format. The three voices blend perfectly and other group songs One Night Only and Dancing Queen are just as delightful. 

Joined by incredible backing vocalists Joel Harper-Jackson and Beth Humphries (equally deserving of their own spotlight) and regularly by guest Rory Taylor, songs from Jesus Christ Superstar and Rent are added to the mix to make this the perfect celebration of Musical Theatre. A thrilling evening at the theatre with glitz, glamour and all that jazz! Simply sensational. 

Joanna Ampil - Memory

Review | CARMEN (Welsh National Opera) November 2014

Carmen, the opera was first performed at the Opéra-Comique in Paris, on 3 March 1875, and at first was not particularly successful. Judging by attendance numbers this evening, things have since changed as a packed-out theatre eagerly awaited the passionate piece.

At the front of it all is Don José, a naïve soldier who is seduced by the fiery Gypsy, Carmen. José abandons his childhood sweetheart but yet loses Carmen's love to the glamorous toreador Escamillo, after which comes a much foreboded killing.

This revival of Welsh National Opera's 1997 production has everything going in terms of talent. An immense cast make up an impressive ensemble and lead performers with Alessandra Volpe as Carmen are quite obviously world class.

Entirely sung in French the production, like many operas can be hard to follow. Surtitles in English are at the top of of the proscenium but  you find yourself deciding on whether to look up and miss the action or try and follow the story without understanding. For a first time opera-goer it can be a little overwhelming but by the end of a much faster paced second half, the climax does manage to leave the heart aching.

The set uses Goya inspired backdrops to suggest the intensity of 19 Century Spain. It's hardly elaborate and doesn't change throughout - there are no concerns that focus won't be on the performers, there's little else to look at. The biggest delights are the young boys, in perfect harmony as street urchins and the fine orchestra, conducted by a young James Southall. The famous tunes impress, such as Toreador which is a welcome, more upbeat moment also Habanera.

It's a dark tale but one with enough to make your evening enjoyable. A night of raw passion, played out by a stellar cast. At Birmingham Hippodrome until 20 November. For a full list of WNO performances, click here. 

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 | MICHAEL BALL - IF EVERYONE WAS LISTENING (Album) October 2014

From a career spanning 30 years, if there's one thing that Michael Ball is good at, time and time again it is surprising his audience with a completely different concept, character or sound. From strutting high in the heels of Hairspray's Edna Turnblad to slitting throats as demon barber Sweeney Todd there seems no end to the capabilities of the musical theatre veteran. 

Chart success with such hits as Love Changes Everything may for some confine Michael into the musical theatre ballad but for those familiar with the multi Olivier Award-winning performer it would come as no surprise that his latest album, If Everyone Was Listening is yet again unlike the previous 19 solo albums.

The first track, Bad Things is the theme tune from the TV series True Blood. It sets the tone for the album with a distinct country feel, a swaying rhythm and it's cool, it's easy listening and gets the things started with a real current sound. Never one to play safe, it is in complete contrast to the second track, Simple Love, a look back to a time when life was simpler - it is perfect storytelling. There's little in the way of expected, powerful and belting vocals - he's been there and done that, many have got the t-shirt and when you're as good a storyteller as Michael, the subtlety of the sound is just as captivating.

From years spent as an actor, telling a story is something that comes natural to Michael and it seems that all of the songs, carefully selected, have a good one to tell. When you consider the track list there is an even mix of both old and new. The album proves that decent songs are still being written - something that right now is so easy to forget. A perfect example is the seventh track, Sugarland's Stuck Like Glue from 2010 which is a welcome upbeat country tale of devoted love.

As well as the title song, a  particular highlight is a collaboration with The Overtones. Let It Be Me is beautiful, it has the ultimate feeling of fantasy. Whilst none of it is breaking the musical mould, it doesn't have to. It's comforting, like an old friend, soothing with a beautiful blend of harmonies and without being too soppy, it's bliss. 

Recently Michael supported new musical From Here To Eternity with the release of single Fight The Fight, he doesn't disappoint theatre fans and ends the album with another nod to a relatively new musical Once. The beautiful Falling Slowly is the perfect, subtle finale to end what is a masterful, compelling collection.

This is less of what you'd expect from the musical theatre legend but that's ultimately why it's so great, and sets it apart. The album is timeless, much like the man behind it all. Michael Ball  established himself as one of the staples of musical theatre and now with such undeniable versatility, one of Britain's most well respected voices. 

Behind the scenes on the album:

The album is released on 17 November. You can pre-order it here. 

Review | HA HA HOOD! (UK Tour) October 2014

Once again the Ha Ha clan roll around to Birmingham, with the usual barrel of laughs and ludicrousness. Written, directed by and featuring Ben Langley each year stars a different comedy personality - this year Hi-De-Hi's Su Pollard is Maid Marion and it also features Cannon and Ball - temporarily without Ball. Poor Bobby, consigned to bed on doctors orders means that for the time being, an understudy - who's name they did say... (Peter? Could be Paul...) steps in - and does a marvellous job. 

Set 10 years after the story we're familiar with we find Maid Marion, divorced from Robin, is now a colonic irrigation specialist - I bet when you bought your tickets you never thought it would be to see Su Pollard giving someone an enema? She does also sing a rather spectacular song to the tune of Nessun Dorma, with lyrics made up of an Indian food order... she excels her comedy credentials and it brings down the house. 

Comedy duo Cannon and Understudy are also great additions but are perhaps a little in the shadow of the show's creator - Ben Langley. With boundless energy he conjures audience participation and keeps enthusiasm at a high throughout. 

These shows are very much an adult pantomime - it's bonkers. You hang your brains up with your coat and you can leave any sort of heirs and graces there too. Riotous fun from the top until curtain-down ... except the curtain doesn't come down, you leave with a view of the small but perfectly adequate, charming little set. 

On tour throughout the UK. Dates here including Swindon Wyvern Theatre - book here. 

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Review | GRUPO CORPO (UK Tour) October 2014

Making a welcome return to the UK after almost ten years, Brazil’s internationally acclaimed dance company Grupo Corpo are renowned for their combination of classical ballet with the sensuality and passion of Latin dance rhythms.

The company, founded back in 1975 by Paulo Pederneiras with choreographer brother Rodrigo first present Sem Mim, a recent piece from 2011 that translated means 'without me'. Danced on an empty stage it is the cloth that hangs above them that is perhaps most interesting. One minute it is a large cloud but soon descends to become more of a mountain. The beauty throughout is within the simplicity. Choreographically there is little in the way of obvious plot, for it at first appears to be a lot of hip wiggling. A narrative does develop, aided largely by lighting for suggestion of mood but the piece itself is very repetitive. On the surface it can seem like spontaneous distortion but the perfect timing reassures you it is indeed finely choreographed and with interludes of strong, recognisable ballet technique the versatility of the company is obvious.

Attention to detail is second to none. Skin-tight costumes are dyed to match the skin tone of the performer and then covered in tattoos - a stunning visual that represents one of the most archaic signs of maritime imagination.

The second piece, Parabelo introduces the nature of Brazilian culture, one that is continually changing. Traveling from popular art to the erudite. Of the two, this is clearly the showcase, the finale. A breathtaking energy, although joyful, is as exhausting to watch as it must be to perform. Every ounce of strength is thrown in to what ends as a powerful, exciting, colourful carnival.

Follow the conversation with #BHGrupo and see it in Birmingham at the Hippodrome until Wednesday 29 October. Book here.

Review | THE IMPORTANCE OF BEING EARNEST (UK Tour) October 2014

There are plays within plays, quite famously Noises Off and more recently The Play That Goes Wrong and it may come as a surprise to some that the latest offering of the sort is a production of The Importance Of Being Earnest. When you consider the maturity of the cast it's perhaps quite apparent that this is no ordinary version. What you are in fact watching is a rehearsal of an amateur dramatics group, the Bunbury Players who have revived their production of 'The Importance' on many occasions over several decades. 

To dismiss the premise immediately would be unfair, as there is considerable hilarity in the idea. For an obvious example, there's a thespian we all know who will at any opportunity utter the words "when I was at The National..." and this character is written in here - an early attempt at introducing theatrical stereotypes. Unfortunately this soon fizzles out as does the idea that the whole thing is a dress rehearsal in one of the company members' living room. The early mishaps of forgotten cucumber sandwiches and costumes that don't fit are never readdressed and the narrative from 'The Importance' starts to play through uninterrupted - finally. It's a shame however that it continues to take place in someone's living room and nothing is ever clear or distinct. As someone who's never seen The Importance Of Being Earnest, it becomes very frustrating trying to understand what's going on and when they're telling the story or being the amateurs 'out of character'. 

Whereas Noises Off is funny because it's supposed to be the actual performance going wrong before an audience, the fact that this is a rehearsal makes the 'mistakes' less humorous - we expect them to happen and it's OK if they do... there's something entertaining about a disaster and unfortunately it never reaches such a level. Maybe this is one for those who have seen the straight version of the play and are able to make sense of jokes from an existing understanding. 

It shouldn't be avoided for there are excellent redeeming features. The cast are superb and do there absolute best with the new concept. Sian Phillips is excellent as Lady Bracknell, delivering lines with perfect comic timing. Nigel Havers and Martin Jarvis are responsible for a few hilarious outbreaks as they reprise the roles of Algernon and John Worthing that they both played in the 1982 National Theatre production alongside Dame Judi Dench. The set by William Dudley is stunningly beautiful, I'd happily live in it. 

It's all just a little too incoherent and Jarvis' line "it's more Widow Twankey than Oscar Wilde" probably rings true for the production. It's very interesting and worth turning out for the fantastic cast line up. The questionable concept is one that divides the audience, some clearly adored it. Decide for yourself at Birmingham New Alexandra Theatre until Saturday 26 October. Tickets here. 

Cast List: Rosalind Ayres, Niall Buggy, Patrick Godfrey, Nigel Havers, Martin Jarvis, Christine Kavanagh, Cherie Lunghu, Sian Phillips, Portia Booroff, Carole Dance, Hugh Osbourne.

ALEXANDRA BURKE STARS IN UK TOUR OF THE BODYGUARD

Following her sell-out run at the Adelphi Theatre in London’s West End, producers Michael Harrison and David Ian are delighted to announce that three-time Brit nominee and X-Factor winner, Alexandra Burke, will star in the leading role of ‘Rachel Marron’ in the forthcoming UK and Ireland tour of Thea Sharrock’s hit musical THE BODYGUARD. The tour visits Wolverhampton Grand Theatre from Tue 21 April – Sat 2 May 2015.

Alexandra Burke said "I couldn't be happier to be joining the tour and I'm excited to get started. Being on the theatre stage has brought me great happiness. It is an honour to have been asked to join the team and I look forward to creating new and long lasting memories with the cast."

Alexandra Burke rose to fame after winning the fifth series of The X Factor. Her debut number one single Hallelujah sold over one million copies in the UK, a first for a British female soloist. Burke’s first album, Overcome saw the release of her subsequent number one singles Bad Boys and Start Without You. In 2011 she embarked on her first solo tour and was invited by Beyoncé to support her I Am... Tour. Her second album, Heartbreak on Hold, was released in June 2012 and later this year sees the release of her third studio album.

Alexandra Burke will perform the role of ‘Rachel Marron’ at all evening performances. At the matinee performances, the role of ‘Rachel Marron’ will be played by Zoe Birkett.

Zoe Birkett is probably best known as the highest placing female contestant in ITV’s Pop Idol, 2002. Since then she has appeared in the West End productions of Priscilla Queen of the Desert and originated the female lead in Thriller Live. Her other theatre credits include the Acid Queen in Tommy and Maureen in Rent.

Based on Lawrence Kasdan’s 1992 Oscar nominated Warner Bros. film, THE BODYGUARD, which starred Whitney Houston and Kevin Costner, was nominated for four Laurence Olivier Awards including Best New Musical and Best Set Design and won Best New Musical at the Whatsonstage Awards.

Former Secret Service agent turned bodyguard, Frank Farmer, is hired to protect superstar Rachel Marron from an unknown stalker. Each expects to be in charge; what they don’t expect is to fall in love. A romantic thriller, THE BODYGUARD features a host of irresistible classics including Queen of the Night, So Emotional, One Moment in Time, Saving All My Love, I’m Your Baby Tonight, Run to You, I Have Nothing, I Wanna Dance with Somebody and one of the biggest selling songs of all time – I Will Always Love You.

Book tickets here. 

Review | DREAMBOATS AND MINISKIRTS (UK Tour) October 2014

Following on from where Petticoats left off, the Dreamboats are back and their girls in miniskirts! Whatever happened to Bobby and Laura? It's now 1963, and the world is changing. Bobby and Laura's single "Dreamboats and Petticoats" has not taken off. Norman and Sue have settled down to non-marital bliss - and a baby! But Ray and Donna seem blissfully happy...

It's often that the sequel is never as good ... Grease 2 ... but here it's quite the opposite. Whereas Dreamboats and Petticoats seems to drag after an hour, here we have something altogether more interesting. The rise of Bobby's band The Conquests against the success of The Beatles and Laura's solo career makes for a plot that twists and turns patting the way for plenty of 60s hits - many of which make up the soundtrack to Dirty Dancing. Nobody comes to these musicals for a gritty storyline which probably takes a backseat - what shines though above all is a fantastic cast and the finest actor musicianship.

Charlotte Peak and Chloe Edwards-Peak on saxophone are excellent and compliment the band of boys who impress with hits such as Do You Love Me and Venus In Blue Jeans. David Luke belts out some impressive vocals as Ray whilst Louise Olley who reprises her role as Sue is in great voice, particularly with classic Be My Baby. Alex Beaumont is charming as Bobby and Elizabeth Carter shines as Laura - her rendition of You Don't Own Me is a highlight. Commanding bad boy Norman (Ross William Wild) steals the show. Wild's presence is incredibly infectious and it's all eyes on him as he rocks through Oh Pretty Woman and Hippy Hippy Shake. 

Corners are cut however... it's the same set as Dreamboats and Petticoats but without the dodgems. The ping pong table also makes a return but gladly they don't play it whilst there's dialogue, which was distracting in the predecessor. The poster artwork also remains pretty much the same as Petticoats, but Miniskirts does take you on a whole new adventure. Little visual effort has been made to differentiate this from Petticoats which is clearly a safety measure to assure the audience - you know what you're getting. The whole thing is slicker, faster paced and a maturer storyline makes for a less fluffy, more energetic and exciting production that truly gets you into the spirit of the sixties.

At Birmingham's New Alexandra Theatre until 18th October. Book here. 

Cast List: Alex Beaumont, Ross William Wild, Elizabeth Carter, Louise Olley, David Luke, Anna Campkin, Alan Howell, Will Tierney, Michael Kantola, Sheridan Lloyd, Chris Coxon, Damien Walsh, Josef Pitura-Riley, Josh Tye, Charlotte Peak, Chloe Edwards-Wood

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Review | KERRY ELLIS IN CONCERT (UK Tour) October 2014

One of the most celebrated ladies of the West End - Kerry Ellis has a had a pretty busy schedule... Not only has she become a mother but released an album, sold out the London Palladium, performed with Kristin Chenoweth at the Royal Albert Hall, played in Tell Me On A Sunday, returned to Wicked in the role of Elphaba once more and is now touring the UK with a more personal, intimate tour of the Palladium show. 

What is always obvious with Kerry is that she is very much for her fans, this particular album was made with contributions from Kerry's dedicated fan base and the tour is quite obviously Kerry's thank-you. The whole evening was very personal, between songs Kerry's journey through musical theatre is mapped out in a series of humorous recollections and her natural charm warms the audience from the beginning. 

And impressive James Bond medley to kick off the show is met with rapturous applause and soon after an impressive rendition of I Could Have Danced All Night from My Fair Lady - the show that began Kerry's West End career, second-understudying for Martine McCutcheon. 

There are multiple highlights, the first being an invitation for a nervous fan, Vicky, to join Kerry on stage for a duet of I Know Him So Well, a result of pledging towards the album. Holding hands Kerry's support got her through the song and the moment was beautiful. The close of the first half was an excellent, powerful performance of Take That Look Off Your Face, which saw the welcome return of Kerry's belting vocals. 

Joining Kerry for a one-off special duet in the second half was the excellent Rhydian Roberts. Together they sang As Long As You're Mine from Wicked, to which Rhydian concluded, "Kerry Ellis, the definitive Elphaba". Whilst singing songs from Wicked, an alternative, beautifully stripped back version of Defying Gravity was a treat. 

Not only musical theatre but there were current hits too, perhaps unexpected Katy Perry, Lady GaGa and Ed Sheeran's Give Me Love made it in and reassured Kerry's versatility. 

To conclude the concert, accompanying Kerry for Give Me Love were students from the Midlands Academy of Dance and Drama (MADD College). Under the supervision of Steve Pritchett, the immensely talented, well presented group of 30 2nd and 3rd year students produced the most incredible choral sound. MADD also provided backing for the show's breathtaking climax - Frozen's Let It Go. What's great about Kerry is her inclusiveness and the opportunity for this Nottingham based college to perform alongside her is undoubtably just the beginning of many successful careers. 

Musical direction, piano and arrangements by Craig Adams are sublime, a medley of songs from Oliver! was a pleasant surprise.  Caroline Deverill and Laura Selwood provide beautiful backing vocals. The band, Aaron Williams, Nick Walsh and Matt Senior are also excellent.

Kerry Ellis remains one of theatre's all-time secret-weapons. This tour is a perfect demonstration of varied styles and Kerry's versatility. Certainly there is something for all audience members to enjoy.  The perfect, intimate live experience.

For more information, tour dates and news, visit Kerry's website. 

Review | SHADOWS OF WAR (Birmingham Royal Ballet) October 2014

It's time for another triple-bill from Birmingham Royal Ballet this week and almost timely to the centenary of the First World War, the three ballets presented here are each touched in their own way by the shadow of war. 

The first, La Fin du jour is at first a delightful piece, also titled, The End Of The Day it does on the surface tell the story of bright young people, amusing themselves with parties and the latest fashions. It is simplistic in set, but bursting with vibrantly coloured costumes. We se relationships blossom, it's romantic and reminiscent of BRB's Elite Syncopations - a celebration. Shadowed of course, it's ending although not unpleasant is somewhat hinting at the sombre as their country is on the brink of war. 

 La Fin du jour 

The second of the three is most special, this was the world premiere of the revived production of Miracle In The Gorbals - reconstructed from memory by renowned choreographer of Cats - Dame Gillian Lynne. 

Set in a run-down and dangerous Glasgow suburb, it dispensed with all the frippery of traditional ballets, replacing it with a gritty realism that proved an enormous success. After the shock of a girl's suicide, the arrival of a mysterious stranger who is able to bring her back to life creates waves among the violent inhabitants of the tenements. 

The original production of 1944 was danced by a 17 year old Lynne, choreographed by Robert Helpmann and is gloriously reproduced for an audience 70 years on. Lynne herself is a miracle at 88 to still be rolling around the floor in full splits with the ballet dancers but has completely thrown herself into the rehearsals and production whole heartedly - and it shows. Whilst the piece isn't the most cheerful of stories, or the most captivating it is a rare opportunity to see this particular ballet that is masterfully translated. To see Lynne take her bow with the dancers was a moment of pure joy and an overwhelming sense of achievement. 

Dame Gillian Lynne in rehearsals with the company.

The final ballet, Flowers Of The Forest is in two parts, both Scottish dances. 'Four Scottish Dances' is the more lighthearted of the two, there are charming moments of real humour in the nostalgic, 'picture postcard' view of Scotland. Scottish Ballad' strikes a more serious note, and is danced to a folk-inspired score by the young Benjamin Britten. The composer's pacifist views found voice in this piece and it is grittier - an energised performance and constant contrasts keep an exciting pace making this final piece perhaps the strongest of the three. 

See Birmingham Royal Ballet present Shadows Of War at Birmingham Hippodrome until Saturder 11 October. Book online here. 

Dame Gillian Lynne begins work on Miracle In The Gorbals

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Review | AGATHA CHRISTIE'S THE MOUSETRAP (UK Tour) October 2014

Now into it's 62nd year in the West End, The Mousetrap continues it's 60th Anniversary tour that began in 2012. The incredibly popular play opened in 1952 and has been running continuously ever since for over 25,000 performances and is the longest running production of the modern era. 

The beautiful set is the wood-panelled sitting room of Monkswell Manor of which is almost identical to the London production. The manor house, left by an aunt, opens as a guest house ran by Giles and Mollie Ralston (Henry Luxemburg and Helen Clapp). A murder is announced on the radio and as with all Christie plays, one by one the guests are revealed as potential culprits.

With each of the suspects, is every type of character in The Mousetrap, partly what manages to keep audience interest in what could be an awfully static piece. The play is also wonderfully structured, the stage time of each character is perfectly waited and the first to enter is the energetic and schizophrenic architect Christopher Wren, not the one responsible for St Paul's Cathedral... Stephen Yeo is responsible for bringing most of the humour to the production as Wren, which is always necessary in a play like this,  there's a lot of explanation going on. Henry Luxemburg is full of frustration as the husband to Helen Clapp's excellent Mollie. Clapp is increasingly fraught as the mystery progresses, working through red herrings and plot twists to produce a character most eating of your sympathy. Luke Jenkins delivers as Detective Sergeant Trotter and clearly enjoys this particularly interesting character.  Anne Kavanagh is at fight sight a kindly old lady but quickly asserts her battle-axe Mrs Boyle whilst keeping a friendly smile - a perfect, textbook Christie character. The charming Michael Fenner is a humorous addition as Mr Paravicini.

The Mousetrap is hardly gruesome but what is most captivating about this murder mystery is a clever resolution, with no clear path until the final seconds, it keeps you guessing until the end. By tradition, audiences are told at the final curtain that they have become partners in crime and must continue to preserve the secret of whodunit just like the thousands in the 62 years previous. If you want to know, you'll just have to go. Solve the mystery at Birmingham's New Alexandra Theatre until Saturday 11 October. Book here.

View the trailer:

Cast List: Helen Clapp, Michael Fenner, Christopher Gilling, Luke Jenkins, Anne Kavanagh, Charlotte Latham, Henry Luxemburg, Stephen Yeo, Tessa Gallagher, John Gould, Jack Lewis, Maria McColgan

Review | Beauty And The Beast (Birmingham Royal Ballet) September 2014

There are no singing teapots... this is Beauty And The Beast at it's boldest and it's best - Birmingham Royal ballet are back with a brand new season and an eleven-year-old favourite production from David Bintley. 

From the initial curtain-up this deliciously dark ballet has you in awe. From Belle's vast library, towered high with books, we are seamlessly transported into the forrest and to the Beast's castle. With a grand, golden set design and exciting illusions you are easily lost in the magical world, before any dancing is even considered. 

The story is of a price, as cruel as he was handsome who is turned into a Beast. The Beast encounters a merchant and spares him his life in exchange for his youngest daughter - Belle. The tale of choice dictated by love ends romantically, as always, and is a perfect excuse for a magical transformation scene. 

Elisha Willis is an endearing Belle. Beauty by name and beautiful in nature, this is a subtle performance, from the heart to the hearts of the audience as you fall in love with Belle as she does with Beast. The narrative choreography ensures she has plenty of stage time with Tyrone Singleton who is in every way a commanding Beast. Dominating the stage, Singleton has an athletic approach to a character who is at first strong but manages to show a more tender Beast, mastering the creature's demise and is earning of sympathy. 

The rest of the excellent company make up other animals. A charming bunch, it is pure delight to watch them leap in unison, spinning in all directions, it's sometimes chaotic but it's visually stunning. The story is lost only slightly in parts but a timeless classic such as this has more than enough to please on all levels.

Backstage on the production is even more fascinating as the magic unfolds. As always with Birmingham Royal Ballet, corners are certainly not cut... Despite it's grander, what is surprising is the simplicity of the set. Quite obviously impressive in scale but a team of dancers push the giant castle walls around to suggest change in setting, it's entirely traditional in method yet continues to offer the audience a spectacular treat. It is perhaps a shame that the exquisite detail in the set design just can't be seen clearly enough from the auditorium. In a rare opportunity to see the sets so closely we discovered first hand delights such as the hundreds of individual flowers, made from foam, covering the walls. 

The costumes are exquisite. Considering the amount of dancing and the height in which they manager to leap, particularly for the Beast it's interesting to discover how heavy they actually are. Costumes line the corridors, multiple dresses for each Belle, 5 of whom will play the role during one week of performances. There are also multiple Beasts - each performer is rehearsed before going on, so that's a lot of rehearsing! 

The doors to the Beast's castle are incredibly detailed with animalistic carvings. Just as detailed is the decoration on his chair and table. Both chair and table are created especially to allow magical illusions. The chair moves onto stage by itself, spinning around and the table is full of delights - such as plates that move and drinks that pour themselves. 

See below for a selection of photographs from our tour behind the scenes. Click on the images to view them larger. 

See this spectacular production of Beauty And The Beast by one of the world's greatest companies. Birmingham Royal Ballet present the opening of their autumn season at Birmingham Hippodrome until Saturday 4th October (book here) with another production, Shadows Of War next week, which includes Miracle in the Gorbals - specially re-created for the company by Dame Gillian Lynne, from Robert Helpmann’s original work set in 1940s Glasgow and danced to music by Sir Arthur Bliss. From 8 - 11 October (book here).

Dame Gillian Lynne begins work on Miracle In The Gorbals

Review | BLOCKBUSTER THE MUSICAL (UK Tour) September 2014

Like so many that have come before it, Blockbuster The Musical is yet another jukebox musical that aims to give audiences a the chance to reminisce and re-live a particular era - this, the 70's. It's not unlike any of the others out there in the saturated market, a show woven together as an excuse to perform some well known hits. Unlike Mamma Mia or We Will Rock You however, if like me you're in your twenties, you probably won't have heard of many. 

Now that you've got the 70's music in mind, take the 80's Back To The Future and merge them together. Our hero Mickey Block (named purely as an excuse to sing Hey Mickey) played by Aaron Sidwell begins as a normal teenager in 2014, busking at Leicester Square tube station. He visits Mad Max (Paul Nicholas) in a Soho record store who thrusts him into a cupboard and hurtles him back to 1973. Once in the 70's, Mickey has to perform two selfless deeds in order to turn his life around, one involves him donating his rare O negative blood in a transfusion to save love interest Teresa (Aimie Atkinson) who is knocked down by a police horse whilst protesting against the Vietnam war...

The plot is predictable, the script is basic but the entirely redeeming factor is an incredibly strong cast who work their hardest to ensure what they're in control of is decent. Aaron Sidwell (Carnaby Street) is impressive as Mickey with an energetic version of Tiger Feet and a great Don't Play Your Rock 'n' Roll. Another fantastic addition is the excellent Suzanne Shaw as Carol who's If You Can't Give Me Love is one of the show's highlights. The choreography by Rebecca Howell is strong and a particularly striking I'll Meet You At Midnight makes a great closing number to the first cast.

They seem to be compulsory with this type of musical, but the megamix finale ensures people are up on their feet and clapping along having enjoyed a lighthearted evening out. Perhaps not one for the youthful theatregoer but those of a reminiscent age should gather a group of friends and have fun with a superb cast. At Birmingham New Alexandra Theatre until Sat 27 September. Tickets here. 

Blockbuster The Musical features classic hits by Sweet, Suzi Quatro, Smokie, Tina Turner and Mud, including: Ballroom Blitz, Blockbuster, Tiger Feet, Can The Can, Devil Gate Drive, Some Girls, Lay Back In The Arms Of Someone, Living Next Door To Alice, Teenage Rampage, Kiss You All Over, Oh Carol, Better Be Good To Me, Little Willy, The Cat Crept In, Lonely This Christmas and Mickey.

Cast List: Paul Nicholas, Suzanne Shaw, Aaron Sidwell, Louise English, Aimie Atkinson, Micha Richardson, Rosie O'Hare, Carla Nella, Grace Holdstock, Vicky Hoyles, Tom Millen, Lee Honey-Jones, Michael Anthony, Ryan Ridley, Alim Jayda, Blair Anderson, Tom Murphy. 

Review | AVENUE Q (UK Tour) September 2014

Winner of the TONY Award “Triple Crown” for Best Musical, Best Score and Best Book, Avenue Q is penned as part flesh, part felt and packed with heart. This Broadway Musical by Robert Lopez, Jeff Marx and Jeff Whitty is indeed witty, teaches you about life, sex, finances and internet porn... Sesame Street, it ain't! 

Princeton, a recent graduate begins his search for a place to live on Avenue A but ends up finding the cheapest apartment much further out of town, in Avenue Q. Superintendent Gary Coleman can merely reflect on his days as a child star for now he's fixing the toilets. Along the way, Princeton finds friends, Brian and his Japanese wife Christmas Eve, Nicky and closeted gay roommate Rod, porn addict Trekkie Monster and the sweetest girl, Kate Monster. Like us, they've all got problems but there's always a solution -  the cure to your crappy day may just be a ticket to Avenue Q!

The uplifting, lighthearted look at life is lead by Tom Steedon as both Princeton and Rod, flitting effortlessly between the two. Rod is easily deserving of sympathy, he has some great moments including Steedon's tender 'Fantasies Come True' and in Rod's hilarious coming out. Princeton's 'Purpose' song is a vocal highlight alongside Kate Monster's incredible Act 1 closing number - 'There's A Fine Fine Line'. Kate Monster, played by Jessica Parker in the absence of Lucie-Mae Sumner is a very strong addition to the line up. Parker delights her home crowd of Birmingham in what was clearly a particularly special performance. 

Stephen Arden works incredibly hard as three separate characters, Nicky, Trekkie and a Bad Idea Bear. It is his Trekkie Monster however that steals most of the scenes, a clear audience favourite, there is overwhelming and rapturous applause for 'The Internet Is For Porn'. 

Jacqueline Tate revives her role of Christmas Eve, a part she played in a previous West End production. Tate is a master of comic timing and ensures that we understand her, even when spluttering incomprehensible Japanese language. 

The puppets by Paul Jomain differ slightly in design from the original Cameron Mackintosh production, but not so that they are any less captivating. The set is simpler than previous stagings but it works, the magic of Avenue Q is nothing complicated, just pure talent. Puppet coaches Nigel Plaskitt and Sam Lupton are to be commended on ensuring quality, convincing and accurate puppetry.

Avenue Q remains one of modern musical theatre's greatest triumphs. A show that has heart, a beautiful score and a side-splitting script.... oh, and puppets! This is the ultimate recipe for feel-good fun! See Avenue Q at Birmingham New Alexandra Theatre until Saturday 20 September 2014. Book tickets online here. 

Money from 'The Money Song' of course goes to help Kate Monster with her Monstersorri School, but also to Teenage Cancer Trust. You can donate to the cause by clicking here if you didn't quite reach the collection hat. 

Cast List: Stephen Arden, Richard Morse, Jessica Parker, Tom Steedon, Lucie-Mae Sumner, Jacqueline Tate, Elena Vincent, Greg Airey, Will Hawkesworth, Emily-Jane Morris, Etisyai Philip