Review | MISS SAIGON (Prince Edward Theatre) June 2014

With an all-time Box Office record, taking in excess of £4m on the first day, the revival production of Miss Saigon was highly anticipated. The musical premiered at the Theatre Royal, Drury Lane, London, on 20 September 1989, closing after over 4000 in performances 1999. Since then, it has toured but in recent years hasn't been available to see. It's perhaps the perfect time to bring it back, being one of the only classics (Phantom, Les Mis..) that young theatregoers haven't been able to experience at an age where they can truly appreciate Boublil and Schönberg's masterpiece. 

Inspired by Puccini's Madame Butterfly, this, set in 1970's Saigon is the story of Kim, orphaned by war who falls in love with Chris, an American GI. Events of the Vietnam War come between them and an inevitable tragic end leaves the heart aching. 

Alistair Brammer and Eva Noblezada

Alternate Kim, Tanya Manalang is a sensation. 18-year-old relative newcomer Eva Noblezada has been received in high-regard so I must presume that both leading ladies are just as phenomenal. Manalang manages to power her way through the score with an incredibly strong but equally vulnerable performance, capturing the many emotions, highs and crashing lows that Kim endures. She is joined by Alistair Brammer as Chris who is in great voice throughout, a highlight being The Last Night Of The World love duet. 

The incredible Rachelle Ann Go gives a beautiful performance as Gigi with an almost unbelievable, perfect vocal in The Movie In My Mind. An excellent casting. 

Jon Jon Briones as The Engineer

Jon Jon Briones is excellent as the Engineer - it's not a 'you love to hate him', it's a 'you hate to love him'. You can't help but enjoy his performance as the seedy Engineer, another highlight being his American Dream number, with an impressive surprising set change and a chorus of dancers - it's very "Broadway" but great relief from some of the deeper, darker moments. Mention must also go to Tamsin Carroll who is an impressive Ellen. 

This breathtaking production is not without flaws. The lighting, although beautiful, is hazy and incredibly dark at times - when sat further back you struggle to see clearly, it's more comfortable to just close your eyes and listen. There is also a very modern film of Vietnamese children shown on a giant screen during Bui Doi which although relevant to the theme, seems particularly 'HD' a little unnecessary and out of place as an accompaniment during the incredible vocal performance of Hugh Maynard as John. 

Tottie Driver and Matt Kinley's redesign of the set is a marvel and by the time of the helicopter arriving during Kim's Nightmare you can have no doubt that this is one of the greatest theatrical events. With one of the West End's finest casts, the heat is definitely on in Prince Edward's Saigon.  I certainly can't wait for a return visit. Currently booking until April 2015, get tickets online here.

Meet the revival cast of Miss Saigon

Cast List: Jon Jon Briones, Eva Noblezada, Alistair Brammer, Tamsin Carroll, Hugh Maynard, Kwang-Ho Hong, Rachelle Ann Go, Tanya Manalang, Julia Abueva, Natalie Chua, Jon-Scott Clark, Jenny Ding, Dale Evans, Callum Francis, Ashley Gilmour, Maria Graciano, Simon Hardwick, Jack Harrison-Cooper, Matthew Jeans, Kurt Kansley, Kittiphun Kittipakapom, David Kar-Hing Lee, Mitch Leow, Ela Lisondra, Carolyn Maitland, Christian Rey Marbella, Kanako Nakano, Thoa Nguyen, Saori Oda, Ariel Reonal.

Review | CATS (UK Tour) March 2013

On just one special night of the year, all Jellicle cats meet at the Jellicle Ball where Old Deuteronomy, their wise and benevolent leader, makes the Jellicle choice and announces which of them will go up to the Heaviside Layer and be reborn into a whole new Jellicle life....

That's about it, as far as the story goes, but Cats is so much more than that. On entering the theatre you're entering a dump - a giant playground for cats. The atmosphere is set before a single note is sung, before a cat is even seen. An abandoned car, larger than life-size tyres, boxes of Shreddies, Ritz biscuits, paper plates, cans of Pepsi litter the auditorium and strings of fairy lights hang from the boxes and around the circles, it's magical, yet rubbish.

I think you're either a cat person, or a dog person... I have a dog (ssshhh!), a sausage dog, so he's cat sized but I've never really been a fan of actual cats. But from the moment the glorious orchestra boom out the overture these creatures are somewhat strangely welcoming. Inquisitive, cute and playful at first Jellicle Songs For Jellicle Cats is the purrrfect opening, captivating the audience in every way. It's hard to pinpoint a particular element for being greater than another. Vocals, choreography, costume and fiendishly difficult make-up combine to present the stories of these practical, dramatical, pragmatical, fanatical, oratorical, delphioracle cats. 

Ben Palmer (Munkustrap)

Munkustrap acts as the narrator of the story and played by Ben Palmer (42nd Street) we get a solid and strong grey tabby who impresses throughout, particularly in his telling of Old Deuteronomy. Also leading the males is Oliver Savile (Les Misérables) as The Rum Tum Tugger, a curious cat - milking it for all it's worth, this cat revels in strutting around and gaining everyone's attention which Savile certainly achieves, riffing his way powerfully through the final choruses of Mister Mistoffelees and impressive vocal range is evident. Mister Mistoffelees, the conjuring cat has perhaps the most beautiful costume - sparkling and shimmering as he dances around, Joseph Poulton's exciting facial expressions and strength in ballet ensures all eyes are on him. Cameron Ball makes a ferocious Macavity. Nicholas Pound is majestic and in fine voice as Old Deuteronomy. 

Joseph Poulton (Mister Misoffelees) and Oliver Savile (Rum Tum Tugger)

Melissa James attracts attention as Bombalurina - incredibly sassy and impresses with Lily Frazer as Demeter in Macavity. Two other impressive duos are Barnaby Thompson (Legally Blonde) and Katie Warsop as Mungojerrie and Rumpleteazer in their song, and in dance Richard Astbury and Lizzi Franklin as Coricopat and Tantomile. Ross Finnie is a delight as Skimbleshanks the railway cat, the scene in which the cats build the train from rubbish is genius. 

Cats is very much an ensemble show and as boring as it may be to list names, I cannot go without out mentioning an individual that make up this fantastic company which includes Alicia Beck, Jessica Buckby, Matthew Caputo, Collette Coleman, James Darch, Barry Haywood, Will Lucas, Paul F Monaghan, Joel Morris, Ian Parsons, Alice Redmond, Clare Rickard, Freya Rowley, Francesca Whiffin and Dawn Williams. 

Richard Astbury and Lizzi Franklin

Memory is perhaps one of the most famous songs in Musical Theatre history and comes with a lot of pressure for a singer to follow in the pawsteps of Elaine Paige. So how do you manage to succeed in wowing thousands of people each night? You cast Joanna Ampil as Grizabella. I don't think there has ever been a time in which I have seen anyone sing with as much emotion, and keeping in such beautiful voice. A true star, who deserves to be remembered in this iconic role as famously as Paige. Incredible. 

Joanna Ampil (Grizabella)

Cats plays at the Wolverhampton Grand Theatre, the first English venue of the current tour for two weeks until Saturday 30th March 2013. Completely unmissable, get tickets HERE NOW. 

Review | THE PHANTOM OF THE OPERA (UK Tour) March 2013

A year after opening in Plymouth, Cameron Mackintosh's new touring production of The Phantom Of The Opera has finally opened in Birmingham. Press Night was a most memorably celebrated event as the last venue of the tour and that Cameron Mackintosh appeared at a gala evening hosted by the theatre. The celebrations in Birmingham ran simultaneously with the 11,000th performance of the show at Her Majesty's Theatre in London.

I'm not unfamiliar with The Phantom Of The Opera but last night was the first time I had actually seen the show on stage and perhaps this worked in my favour as regular 'phans' were quick to compare with "the brilliant original". This is a complete re-staging of the London production and with some members of the original creative team sadly no longer with us, fresh eyes have re-imagined Andrew Lloyd Webber's masterpiece.

Sitting directly underneath lot 666, the chandelier of the Paris Opera House as it illuminates during the chilling overture is just one of those theatrical moments you don't forget. The staging and Paul Brown's set is of magnificent proportions. From the beautifully detailed backcloths and opulence of a gold proscenium the set revolves to reveal dark and dirty backstage corridors and a crumbling fly-floor. There are floating candles above a stairway of planks down to the Phantom's lair seeming to appear magically out of the wall as he and Christine descend.

The scene that I've heard does suffer from the confines of touring (and this production does well to eradicate any touring limits) is the Masquerade ballroom. Grand in its use of gold statues and mirrors, there is no staircase as in Maria Björnson's original and for the Phantom's interruption a plainer alternative to the skull mask. But not having seen the original I could fully appreciate it's beauty. The effects are second to none, not only does the Phantom's ability to produce fireballs from the floor heat things up but the spectacular finale to Act I sees the fate of the chandelier explode in spectacular fashion. The grandeur of the design combined with Paule Constable's lighting and Mick Potter's beautiful yet haunting sound ensures that you don't get better touring productions than this - it's far superior.

Angela M Caeser is impeccably trained and impresses as Carlotta - also providing the comedic moments which is welcome relief from the warnings of Buquet (Lee Ormsby) and the cold, draconian Madame Giry (Elizabeth Marsh). Simon Bailey is Raoul and presents a solid character, mastering the vocals and providing Christine with a desirable lover. Katie Hall is the beautiful soprano and her Christine is reminiscent of Sierra Boggess at the world-renowned 25th Anniversary performance. At her most passionate and endearing in 'Wishing You Were Somehow Here Again'. Hall's duets with Bailey emanate a beautiful romance but with the Phantom vocals are tested chillingly to the extreme. Earl Carpenter first took over the role of the Phantom full time in the London production in 2005 - giving over 1000 performances. This experience is most evident in his expert portrayal. Caring and passionate, frightening and desperate - every phase of this Phantom's struggle leaves your heart aching.

Cameron Mackintosh

The Birmingham Hippodrome is the final venue of the UK Tour before plans of moving to America. This new production of the Phantom Of The Opera can only be seen until 4th May 2013. Book tickets here. 

Promotional Tour Trailer: