Review | THE KING DANCES / CARMINA BURANA (Birmingham Royal Ballet) June 2015

Celebrating 20 years of Artistic Director, David Bintley, Birmingham Royal Ballet present his first and most recent ballets for the company at Birmingham Hippodrome this week. 

The King Dances is the 1653 story of the 14-year-old Louis XIV of France who danced the role of Apollo the sun god in Le Ballet de la nuit, and earned himself forever the soubriquet the Sun King. In the ballet, David Bintley re-imagines the very beginnings of ballet, when men were quite literally, the kings of dance.

From it's fiery opening with flickering flames, the Messieurs are perfectly poised but it is ultimately, Le Roi, the Sun King danced by William Bracewell who commands attention over the discordant score. His duet with the moon, Yijing Zhang's Selene, la Lune is simply beautiful and leads nicely into a striking finale of glowing gold. 

It all overseen by the brilliance of seasoned dancer Iain Mackay as La Nuit who's turn as Le Diable, the devil adds a welcome change in dynamic. It is rather succinct at only 35 minutes but is nonetheless pure, undiluted brilliance. 

1995's Carmina Burana opens with the familiar 'O Fortuna' - the last time I was sat at Birmingham Hippodrome listening to that song, I was being covered in snow by clowns, it's a versatile an anthem. Here it provides the perfect introduction to the angular, disjointed choreography, executed with gusto from Céline Gittens,  as a break from the more classical ballet of which we were treated to earlier in the evening. 

If it's something BRB do well, it's providing contrast in it's double and triple bills whilst keeping the theme relatively correlating. Carmina Burana keeps the dark drama of the first piece but despite being 20 years old injects a freshness through the abandoning of structure and the exploration of fate. 

Divided into several departures from faith, 'On The Village Green' is sprightly, much like MacMillan's Elite Syncopations, an injection of colour, flirtatious and contests with the equally entertaining 'In The Tavern' which also draws parallels with Jooss' The Green Table - gluttons in masks and gloves dancing around a table on which Daria Stanciulescu is presented as an effortlessly delicate Roast Swan. 

The climax, a reprise of O Fortuna is preceded by a breathtaking sequence for the tearing down of the backcloth and revealing of a concert-like spectacle that's all in the staging. 

Not only The King Dances but the evening as a whole is deliciously dark and by it's climax, glows gloriously. 

At Birmingham Hippodrome until Saturday. Click here for tickets. 

View the trailer for Carmina Burana

Review | THE PRODUCERS (UK Tour) April 2015

It's the greatest failure in the history of show business.... at least that's what it's supposed to be! 'Springtime For Hitler', the Neo-Nazi musical on the misunderstood Fuhrer is what lame producers Bialystock and Bloom intend to stage in order to rake in the remaining funds of a doomed Broadway musical in the smash hit Broadway musical - The Producers!

It's perhaps as confusing and seemingly irrelevant on paper as it is on stage, but much like the show that features within it, The Producers is a sure fire hit ... at least it is with a string of star names to it. 

Here, the show is cast for entertainment value and it's stars take precedence over anything else. Top of the bill is Stand Up Comedian Jason Manford. Incredibly likeable as accountant-turned-Broadway Producer Leo Bloom, with a cartoony voice like a timid Mickey Mouse, he wins over the audience with what at first is a seemingly subtle performance that explodes in song - a perhaps surprising element to his performance, he wins over any doubters. 

Manford is paired well with Cory English as Max Bialystock who is no stranger to the role. Experience is definitely ripe as he earns some of the biggest cheers of the night. Phil Jupitus is sometimes a little difficult to understand behind all the German but is humorous in his portrayal of pigeon keeper, Playwright, Hitler obsessive Franz Liebkind. 

Stage veteran David Badella brings Broadway charm as only he can. His rich sound and smooth voice is something of his trademark and works particularly well with the role of Roger De Bris, a fabulously flamboyant image of the over theatrical, cross-dressing director. In a later, excellent turn as Hitler, hilarity breaks out in the show's most spectacular dance number - full of glamour, full of glitz and camp as.... well, they rhyme with glitz. 

As if it wasn't already overly theatrical enough, Louie Spence ensures that you don't leave with your cravings for camp unsatisfied. His hilarious Carmen Ghia is something of an upstaging of almost everything but the audience lap up every pirouette, every backbend and bevel. 

Finally, Tiffany Graves is excellent as Ulla, she's got it and she flaunts it. 

The set is pretty minimal with a lot of moving going on behind a waving back cloth, it is distracting and clunky set pieces prove difficult to manoeuvre sometimes. A lot of this is covered up well with vibrant choreography however. Almost like a Bialystock and Bloom production with creased swastika laden curtains, the production doesn't boast the highest production values, but it doesn't matter. The Producers has been done far more lavishly before but here money has been well spent elsewhere with a well chosen, star cast and enthusiastic ensemble make this something of a sure fire hit!

Highly hilarious, farcical, at most times irrelevant, it shouldn't work but it does - much like the show it's about. An easy, fun and (most importantly) entertaining night at the theatre. At Birmingham New Alexandra Theatre until Saturday 25 April. Tickets here. 

Review | Cirque Eloize CIRKOPOLIS (UK Tour) March 2015

Cirque Éloize bring their circus to town this week, far from clowns throwing buckets of water, the most intricately trained team present a show that combines the worlds of circus, dance and theatre. In  this, Cirkopolis we find ourselves trapped n the heart of a stern and imposing city in appearance, giant gears and dark portals symbolise a mechanism that crushes individuality.

We begin somewhere between imagination and reality. The day to day and the mundane life of city workers makes for a stark and repetitive opening ... it's like work life. The joy is in finding the little things that make a difference and offer something fresh. A little puppet presses a bell and provides momentary humour before the stage is flooded with rushing commuters. 

It is when a female emerges from the crowd in a red dress that colour interrupts the monochromatic madness. A solitary moment she (Léa Toran Jenner) forlornly takes to the Cyr wheel and gives a heartfelt, emotional routine as she manipulates the wheel. It's incredibly lonely and suggests she wants to explore beyond  the confines of her ring but even central hero, Ashley (Ashley Carr), is happy is happy to suppress his individuality in order to fit in. 

It's easy to spectate and draw comparisons with your own life, but importantly, waiting in the wings are more colourful characters who along the way show Ashley and remind you that there is fun to be had. With a fearless ensemble, the evening is full of stunning aerial acts, the danse trapeze, juggling, the German wheel, teeterboard and Chinese pole - the foundations of circus skills are all there but this is far more sophisticated. 

There's an impressive use of projection that depicts the industrialised floating city and through an increased intensity of light and the addition of colour, a vibrant finale ends these people's journey  that thoroughly and most entertainingly progresses from the monochrome to a more elaborate, thrilling, high energy climax. With moments of pure tenderness and others of hilarity, Cirkopolis is  both frantic and fantastically fascinating.

View the trailer

See Cirkopolis at Birmingham Hippodrome until Saturday 28 March. Tickets here. 

Preview | WELSH NATIONAL OPERA Spring Season at Birmingham Hippodrome

A season of enchantment and delight is on offer from Welsh National Opera this spring with a trio of spellbinding productions which will come to Birmingham Hippodrome between 4-7 March 2015.

Spellbound is the theme for Spring 2015, which will highlight the natural affinity between music and magic with revivals of Hansel & Gretel and The Magic Flute alongside a new production: Chorus!

Chorus! opens the opera company's Spring 2015 Season. This new version, also under the creative vision and direction of David Pountney, celebrates one of WNO’s greatest assets, the Chorus. Chorus! will feature soprano Lesley Garrett CBE performing alongside the WNO Chorus, and will be an enchanting, witty and spectacular journey through the rich repertoire of choral music and a chance to experience some of opera’s best-loved moments.

The production will include opera classics such as the ‘Humming Chorus’ from Puccini’s Madama Butterfly and ‘Va Pensiero’ from Verdi’s Nabucco alongside the Epigraph from Prokofiev’s War and Peace and ‘Alabama Song’ from Weill’s Rise and Fall of the City of Mahagonny. Two pieces from Gilbert and Sullivan’s The Pirates of Penzance will also feature: ‘A Policeman’s Lot’ and ‘With Cat-like Tread’. Chorus! will be conducted by WNO Chorus Master, Alexander Martin.

View the trailer for Chorus!

Classic revivals of The Magic Flute and Hansel & Gretel will transport the audience into a world of magic, make-believe and delight, but are also ultimately about the power of rationalism over magic. WNO Music Director Lothar Koenigs will conduct both Hansel & Gretel and The Magic Flute.

Mozart’s much-loved The Magic Flute returns to WNO in this Magritte-inspired production – originally directed by Dominic Cooke – which features an angry lobster, a newspaper-reading lion and a fish that is transformed into a bicycle. The roles of the three boys will be sung by female students from the Royal Welsh College of Music and Drama as part of WNO’s partnership with the college to provide mentoring and support for its Opera Performance students.

View the trailer for The Magic Flute

The revival of Humperdinck’s Hansel & Gretel – originally directed by Richard Jones – is a dark re-telling of the well-known fairytale. Ailish Tynan will sing Gretel and Jurgita Adamonyté will sing Hansel. Adrian Thompson, who returns to WNO following his performances in Boulevard Solitude in Spring 2013, will sing the role of The Witch.

Listen to a sample from Hansel & Gretel

Describing the Spring season, WNO Chief Executive and Artistic Director David Pountney says: “Enchantment is a feeling that awakens the child in all of us, and The Magic Flute and Hansel and Gretel offer plenty of such moments of naive delight. Both operas too, like all good fairy tales, have a serious point to make, and show a young couple learning how to read and understand the good and the bad that is in the world, emerging stronger and ready for a better future. Our production of Chorus! too is like one of those walks in the woods that are the common fare of fairy tales: where will it lead - is there a happy ending, or indeed an ending at all? It is in fact a kind of mystery tour in the company of 40 of our best and finest singers - so whatever the ending means, you can be sure it will be a rousing one!”

PERFORMANCE DATES AND BOOKING LINKS

CHORUS | Wed 4 March Book Here

THE MAGIC FLUTE | Thurs 5 & Fri 6 March Book Here

HANSEL & GRETEL | Sat 7 March Book Here

Image from Hansel & Gretel

Review | THE HISTORY BOYS (UK Tour) February 2015

Alan Bennett's play about a Sheffield boys' grammar school in the early 1980s started life at the National Theatre. What is billed as 'the nation's favourite play' is perhaps so because of it's timeless nature. The play follows a group of history pupils preparing for the Oxford and Cambridge entrance examinations under the guidance of three teachers with very different styles of teaching. 

For what is an obvious commentary of school at the time, it is apparent that behaviour and attitudes in Bennett's play are not far removed from our own days of education - regardless of era. Despite the familiarity within the classroom setting however, what is presented at times is far from realism... It would be difficult to imagine in a modern school, let alone one in the 80s whereby a student was openly 'seeing' the head teacher's PA and not merely an eyebrow is raised. 

Without wishing to refer to the boys a stereotypes (for their characters are much deeper than that), the troubles within this group of eight would be recognisable in almost all classrooms and it's that familiarity that makes the two hours and forty minutes pass by quicker than break time. 

You easily find yourself engrossed in this new production from Sell A Door. It's a play full of warmth despite darker undertones and with huge heart, it's humorous interludes are both lyrical and visual. Imagine for example, an explicit French scene - acted atop a desk without trousers, smoking... anything goes as Hector's lesson prepares the boys not for exams... but you can't help but like Richard Hope's enthralling English teacher Hector. Despite inviting the boys for unsavoury rides on his motorbike, Hope transpires Hector's wonderful way with words to the stage from the page in a affectionate portrayal. 

Hollyoaks' Steven Roberts, in his stage debut is charming as Posner and Kedar Williams-Sterling as Dakin commands presence as the most advanced student. The subjects are all handled so tastefully and pieced together under the narration and piano playing of the excellent Alex Hope as Scripps. 

This new production of the play voted the nation's favourite is entirely captivating, a production that shouldn't worry about being consigned to the history books. Far from the past, it's as ever relevant today. Even as a spectator you are in fact a pupil - learn from this masterpiece that reason for education (and ultimately great theatre) is to pass it on.

Top marks for The History Boys at Birmingham New Alexandra Theatre until Sat 28 February. Tickets here. 

Cast List: Steven Roberts, Kedar Williams-Sterling, Alex Hope, David Young, Patrick McNamee, Sid Sagar, Joshua Mayes-Cooper, Matthew Durkan, Mark Field, Richard Hope, Christopher Ettridge, Suswan Twist, Chris Barritt, Melody Brown. 

Review | VINCENT AND FLAVIA DANCE 'TIL DAWN (UK Tour) February 2015

After a hugely successful tour and West End residency, stars of Strictly Come Dancing, Vincent and Flavia return to the regional stage with style. Their trademark Argentinian Tango leaps into the golden age of Hollywood dance, film-makers putting them on the silver screen. Far from the late night bar of Buenos Aires - the setting of previous hit Midnight Tango, the formidable pair take to the stage in 1940's L.A. as Sadie Strauss (Cacace) and Tony Deluca (Simone) - the romantic leads of a comedy about a beautiful starlet and her handsome beau.

Narrator Teddy Kempner is a familiar face in the Strictly duo's shows - here he plays Tommy Dubrowski whose humour is both witty and welcome between dramatic dance numbers. The gags can be cheesy but fit in with the exaggerated theme. There is excellent narration within the choreography - however, Kempner is expert at breaking up the already succinct action with excellent comic timing. 

Abbie Osmon is Lana, who must get her hands on incriminating photographic evidence of her fling with Bobby Burns - the man Sadie is contracted to make films with... Osman, a natural powerhouse raises the roof with impressive vocals in her own take on recognisable classics such as That's Life. 

The Strictly duo are effortless in rhythm, pace and finesse, completely at one with the soundtrack - the perfect blend of 'tangoed' favourites such as Moon River, Stand By Me and more recent hits Paolo Nutini's Pencil Full Of Lead, Caro Emerald's That Man and Bruno Mars' Runaway Baby is a great, high-energy climax to Act I. The live band are excellent - they can pack a punch and set a serene scene - the perfect accompaniment to Oliver Darley's musical interludes. 

A dynamic ensemble master all aspects of the piece co-choreographed by the Strictly professionals and Karen Bruce, who also directed. A highlight is Cacace's routine without Simone but with the male ensemble - leaping from a  staircase with wild abandon, she tears across the dance floor and is simply, strictly thrilling.  

There is a rustic, seemingly simplistic set by Morgan Large, who, as always ensures a surprise element from a gorgeous, clever design that transports you from the likes of a bustling film studio to a glamorous swimming pool bar and to a dowdy office in a mere instance. 

At times you loose yourself in the dance show that could quite easily be a West End musical. This show is packed full of every element that makes a perfect night at the theatre. 

View the shows trailer:

Dance 'Til Dawn is at Birmingham New Alexandra Theatre until Saturday 14 February. Book tickets here. 

Cast List: Flavia Cacace, Vincent Simone, Oliver Darley, Teddy Kempner, Abbie Osmon, Faye Best, Tyman Boatwright, Callum Clack, Ivan De Freitas, Ben Harris, Rebecca Lisewski, Jemima Loddy, Ian Oswald, Giovanni Spanó, Danny Stowell, Lauren Stroud, Lindsey Tierney, Gemma Whitelam. 

Review | SPAMALOT (UK Tour) Review February 2015

Spamalot, Christopher Luscombe's latest incarnation of Eric Idle and Jon Du Prez's musical, lovingly ripped off from Monty Python's The Holy Grail, returns to Birmingham for a third time. Since it's 2010 premiere, the musical that is somewhat scaled back from the 2006 West End version is at it's most concentrated, hilarious and faultless best. 

An outrageous conglomeration of various Python anecdotes from the other films and TV series,  audiences are taken nightly on a journey across medieval Britain with King Arthur (Joe Pasquale) and his noble steed Patsy (Todd Carty) 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 Birmingham if you don't have any stars and this production is full of them. Not only the big 'TV' name stars - Pasquale and Carty, but in the supporting cast. Sarah Earnshaw proves to be in phenomenal voice as the Lady Of The Lake - a stereotypical diva with excellent comic timing - a warm and much welcome addition to the cast. Carty is a subtle Patsy, running around and clonking his coconuts. He earns most of his attention when doing very little, he masters the part of the almost silent sidekick and delights with his rousing rendition of Always Look On The Bright Side Of Life. 

Richard Kent shows his versatility 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. Jamie Tyler is excellent not only as Sir Lancelot but as the Knight Of Ni, Tim The Enchanter and as the side-splitting French Taunter.

With Joe Pasquale firmly at the helm you can expect high volume hilarity and two hours of absolute fun. Pasquale is almost like his pantomime characters, the loveable jester, but here he finds himself King, which lends well to the insane plot... in what other musical would you find a scene-stealing Mary Berry mincing about with a trolley of cakes!?

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 as camp as the Camelot YMCA, it's bold, it's British (and a little bit French) and you'll laughalot til you cryalot.

At Birmingham's New Alexandra Theatre until Saturday 7 February. Tickets here.

Cast List: Joe Pasquale, Sarah Earnshaw, Todd Carty, Will Hawksworth, Richard Kent, Richard Meek, Jamie Tyler, Josh Wilmott, Daniel Cane, Abigail Climer, Matthew Dale, Holly Easterbrook, Richard Astbury, Ste Clough, Inez Mackenzie

Review | RETURN TO THE FORBIDDEN PLANET (UK Tour) January 2015

It's like Dreamboats and Petticoats, for Star Wars fans... but this came first. It's the West End musical that opened at the Cambridge theatre in 1989 and won Best West End Musical at that year's Olivier Awards - beating Miss Saigon.... that in itself is quite bizarre but nothing can quite prepare you for 3 hours of Shakespeare's The Tempest set aboard a spaceship. 

The storm, a meteor shower, causes them to land mysteriously on the planet D'Illyria where they meet mad scientist Doctor Prospero, who has been marooned on the planet - the story continues to the plot of The Tempest and manages to stall what would otherwise be a decent concert. 

Rodney Ford's set is interesting enough, but after three hours is a little static, cast tend to be just stood around, or playing a trumpet in the background but musically, the production impresses. Mark Newnham particularly shines as Cookie and Joseph Mann is humorous as robot Ariel. Sarah Scowen is in fine voice as Miranda and Queen guitarist Brian May appearing on a screen as the narrator is an added highlight. 

Return To The Forbidden Planet may have paved the way for other actor-musician musicals (of which there is now an abundance) and similarly dystopian musicals such as We Will Rock You but the success of the more modern musical relies on less cringeworthy ideas of sci-fi than a robot that looks rather like the Tin Man, hairdryer guns and the batting around of an inflatable ball. Musicals have moved on but Forbidden Planet and it's core audience haven't - they love it and there's a lot for them to love. The musicianship is excellent, vocals are top-notch but the production boasts little to impress or engage a new, younger audience. It's ultimately tacky, but a full standing ovation at the end cemented the fact that an audience have come, had fun and enjoyed themselves.

At Birmingham's New Alexandra Theatre until Saturday 31 January. Tickets here. 

Cast List: Steve Simmonds, Sean Needham, Christine Holman, Greg Last, Mark Newnham, Jonathan Markwood, Joseph Mann, Sarah Scowen, Georgina Field, Callum Hughes, David Heywood, Brian May, Hannah Howcroft. 

Review | EAST IS EAST (UK Tour) January 2015

East Is East, the comedy-drama by Ayub Khan Din was first produced by Tamasha Theatre Company in co-production with the Royal Court and Birmingham Repertory Theatre in 1996. Returning to Birmingham some 19 years later, it appears that Din's semi-autobiographical piece is as ever-relevant today in it's latest incarnation fresh from a three month run at the Trafalgar Studios. 

The play and subsequent film is often cited as one of the key works to bring Asian culture to mainstream British audiences and despite the variation in cultures attending, the play is welcoming on all parts with an equal dash of humour and good heart. It is highly comic as we see George Khan (played by writer Ayub Khan Din) struggle to cope with the changing world but at the same time, it takes it's toll and strains within the family unit make for some perhaps unexpected, harder hitting scenes.

It appeals on many levels, for it's much deeper than a mere opportunity to laugh at dated tradition. There are definitely stereotypes at the core but played with such conviction, notably the excellent Jane Horrocks as Khan's long-suffering wife Ella, you're wanting to reassure her of her credibility as a mother when she's left questioning her weakness in allowing her son to be circumcised as a religious rite. 

"Draw us a foreskin then!" cries only daughter Meenah to her art student brother Saleem. The children are bold and brash as they test new waters and attempt to overcome confusions about identity defining themselves as Pakistani, British and Muslim. understudy Deepal Parmar holds her own against the boys as a strong presence in the household as Meenah. There is also an endearing performance from Michael Karim as Sajit - a recluse in his own Parka coat.

Hilarity ensues at a climactic tea party between the Khan's and the parents of two sisters betrothed to brothers Abul and Tariq. I rarely laugh out loud, it takes a lot, but the hilarity is outrageous and altogether sidesplitting.

Mention must also go to designer Tom Scutt’s brilliant set - a cross between Coronation Street and Blood Brothers, the Salford terrace and chip shop that further authenticates the world in which you must escape to for a life affirming tale of one man's love for his family.

At Birmingham New Alexandra Theatre until Sat 17 January and then Richmond Theatre and Manchester Opera House - tickets for all venues here.

Cast List: Taj Atwal, Sally Bakes, Nathan Clarke, Jane Horrocks, Michael Karim, Johndeep More, Ayub Khan Din, Ashley Kumar, Darren Kuppan, Rani Moorthy, Amit Shah, Hassani Shapi, Pamela Bennett, Deepal Parmar, Ash Rizi, Karl Seth.

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 | 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.

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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Dreamboats And Petticoats Review

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 | 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