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

Preview | TOP HAT (UK Tour) Interview with Alan Burkitt & Charlotte Gooch

Both fresh from the London production of Top Hat, Alan Burkitt and Charlotte Gooch talk about reprising their roles in Kenneth Wax's glittering stage production of the 1935 film which visits Wolverhampton at the Grand Theatre for two weeks from Tue 21 October - Sat 1 November.

For those Channel 4 viewers who saw The Sound Of Musicals earlier this year, you may remember Alan Burkitt as the ensemble member stepping in as the understudy for Jerry Travers on what should have been Gavin Lee’s press night. We asked Alan about his experience: 

I loved that night, everyone was asking me “are you terrified?” and to think about it, I probably should have been - it was a huge night in the West End but I always think with these sort of things that you get one chance, and I was going to take it! It was a lovely evening, the director went out before the show and apologised, saying that unfortunately due to illness Gavin Lee wasn’t going to perform in the show that night. The audience gave me a great big cheer and I thought “they’re with me!” so I went out there confident and had a great show and I got some lovely reviews the morning after.

Charlotte, like Alan, you’ve played your role in the West End production of Top Hat. How does it feel to be back with the show for the tour?

It’s great! I absolutely love the show, I love the role - it’s Ginger Rogers! Stepping into those shoes is a dream come true. When they asked me to come back I didn’t even have to think twice, to get into those costumes again and to do all of Bill Deamer’s amazing choreography, it was a no-brainer. To do the show with Alan too is great, we rehearsed so much together during our time in the London production but never got to perform. I was Dale when Tom Chambers was Jerry but I’d always rehearsed with Alan just in case, so when I heard he was Jerry for the tour I simply had to come back and finally get my chance to fall in love with him every day!

Alan, how challenging is the role of Jerry Travers for you, it seems rather demanding?

It’s very demanding! I’m hardly off stage for the whole of the first act. I don’t go off for at least 25 minutes, it’s pure song and dance and then straight into an acting scene! In the suits we get very warm, you’re sweating constantly and I’m eating like a Trojan at the minute to keep me going! Anything I like, cream cakes galore!

Charlotte, you’ve previously played Penny in Dirty Dancing, a show which happens to be at Wolverhampton Grand Theatre this September and now you’re playing Dale in Top Hat – did you have to learn particular styles of dance for these very different shows, or were they styles that you had experience with and could adapt?

They are very different, but it’s all within my inner dancer! When I came in to Top Hat I thought I’d get a little bit of a break after Dirty Dancing. Penny is all about high kicks and back bends but as it turns out, Dale does a few of those too! I love it though, dancing is my first love beyond everything… and the dresses! There’s a lot more to these costumes than the Dirty Dancing ones - I was strutting around in skimpy leotards but now I’m wearing these gorgeous dresses with feathers and miles of material! Getting into those dresses every day I feel like a princess! I’m the luckiest girl in the world to have been in both of those shows and the Grand Theatre is just as lucky to have them both within five weeks of each other.

Alan, do you a feel a pressure to live up to the movie, with Fred Astaire?

Not really, it’s such a nice thing that we’re bringing the 1935 movie version to the stage – it’s hard to believe that it hadn’t been done before now, but we’re not trying to be Ginger Rogers and Fred Astaire. People say to me, “that’s such a ‘Fred’ thing about you”, which of course is flattering and a great compliment – he’s my absolute idol, but I’m not trying to be him, this is mine – Alan’s version of Jerry Travers and if it’s looked upon with such admiration then that’s great, I’m doing my job!

How do you feel about stepping into Ginger Rogers' iconic role Charlotte?

I took over from Summer Strallen in the West End which was pretty nerve-racking anyway. She was the only person who’d ever played it before on stage. To replace her, I had to try and make the role my own. The biggest shoes to step into were Ginger Rogers’ but both me and Alan always say that we’re not Fred and Ginger and we’re not playing Fred and Ginger – we’re doing characters that were played by them and they’re absolute icons but we just try to do them justice. For anyone who’s a fan of the old Hollywood movie musical, you can’t go wrong with this. A benefit of seeing it in the theatre is experiencing it live, you’ll see the Top Hat you love, but as you’ve never seen it before. With a film you cut and edit and jump from scene to scene but on stage it’s all real and just flows so nicely. I think what’s been created here is really great and the all the Olivier Awards it’s won, including Best Musical speaks for itself.

In your own words, Alan, why should people come to see Top Hat?

It is the most enchanting evening you will have at the theatre. The musical is full of beautiful costumes, stunning choreography and is absolutely hilarious! Get a ticket, it’s perfection!

And Charlotte?

It’s a legacy, if you’re a fan of the old Hollywood movie you’ll love it! But even if you’re not or you’ve never seen it, it’s a fantastic all-singing, all-dancing piece of theatre with beautiful music, beautiful costumes, stunning choreography all wrapped up in the exquisite 1930’s style. It’s perfectly romantic, come along and lose yourself in this magical Hollywood world. It’s a funny story, you’ll laugh, you’ll cry and you’re probably going to leave tap dancing!

See Top Hat at Wolverhampton at the Grand Theatre for two weeks from Tue 21 October - Sat 1 November. Book tickets here. 

Review | CATS (UK Tour) September 2014

Concluding the UK leg of an almost 2-year tour, Cats - the musical based on T.S. Lewis' poems arrives in Birmingham this week. Despite the 33 years since it's original premiere, audiences continue to delight in the wonderfully wacky world of the Jellicle Cats. 

The story is woven out of numerous poems about several kinds of cat and by the end one is chosen to go to the Heavyside Layer and come back to a different Jellicle life... Some say there isn't a story but  listen carefully and you'll learn in just under three hours of pure entertainment. 

Story aside, it is Lloyd Webber's music that is most captivating, a fine orchestra led by Anthony Gabriele provides both an eerie yet strangely welcoming sound. The Phantom Of The Opera probably goes down as Webber's most impressive score, but there are beautiful moments found here, notably in the music of Old Deuteronomy, of course Memory and the climax to act 1 - the incredibly exciting Jellicle Ball which flits between every tempo possible.

In the narrating role is the excellent Callum Train, the strapping Munkustrap, protector and second in command. Train is in fine voice as a solid and strong grey tabby and impresses throughout despite what is clearly a demanding role. Also leading the males is Filippo Strochhi as Rum Tum Tugger - a clear audience favourite alongside Joseph Poulton, Rambert graduate as Mister Mistoffelees. Poulton's irresistible charm, expression and perfected dance solo ensure all eyes are on him.

Zizi Strallen as Demeter

Even as a cat, you can spot a Strallen a mile off, here Zizi (one of four sisters all in show business) is an impressive addition as Demeter, who gives a powerful vocal performance of Macavity along with Charlene Ford as Bombalurina.

There is energy aplenty but cheeky kitties Mungojerrie (Benjamin Yates/Barnaby Thompson) and Rumpleteazer (Dawn Williams) treat us to an acrobatic, tumbling tale of how they delightfully deceive. Sophia Ragavelas belts out a powerful rendition of Memory as the forlorn ex-glamour cat Grizabella.

Dawn Williams as Rumpleteazer and Benjamin Yates as Mungojerrie

Gillian Lynne's iconic choreography is executed with the highest precision. The show's entire choreography utilises every chance to show off what a phenomenal cast this is. If they aren't tap dancing cockroaches, they're siamese sailors - a wonderfully inventive and outlandishly imaginative production.

Nicholas Pound as Old Deuteronomy and Sophia Ragavelas as Grizabella

As theatre cat Gus puts it, "modern productions are all very well, but there's nothing to equal from what I hear tell". Cats remains that favourite show it always was, there's a magic that ensures this timeless classic doesn't need anything overcomplicated and it's success is in pure talent. Don't pass up your invitation to the Jellicle Ball, it's fearless feline fun. Introduce a young one to what is undoubtably a magical and mesmerising spectacular - they're certain to cherish the memory forever. Catch it at the final UK venue of it's tour, Birmingham Hippodrome until Sat 27 September. Tickets here. 

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How to become a Cat with former cast member Richard Astbury. Click here.

Cast List: Adam Lake, Adam Salter, Charlene Ford, Paul F Monaghan, Joel Morris, Cassie Clare, Benjamin Mundy, Zizi Strallen, Sophia Ragavelas, Clare Rickard, Natasha Mould, Abigail Jaye, Cameron Ball, Callum Train, Benjamin Yates, Barnaby Thompson, Nicholas Pound, Joseph Poulton, Dawn Williams, Filippo Strocchi, Ross Finnie, Kathryn Barnes, Hannah Kenna Thomas, Ryan Gover, Barry haywood, Alice Jane, Grace McKee, Dane Quixall, Libby Watts. 

Interview | ALEXANDRA DA SILVA - August 2014

Alexandra Da Silva, who trained at ALRA tells us about her own cabaret show and some of her past experiences including Streets, the gritty musical that premiered at Hackney Empire.

Tell us about Streets, presumably that's where you met Kris Rawlinson, the MD for your cabaret show?

Streets was such a fantastic show to be a part of, because it totally changed to boundaries of what musical theatre can and should be. It was more like a play with a live soundtrack (with a bit of spoken word, beat boxing and street dancing thrown in for good measure!) but everything worked so well together and nothing felt out of place, mainly thanks to our MD Kris Rawlinson and our director Adam 'Bo' Boland. All the cast and creatives were from different walks of life and parts of the industry, but the belief we had in the show brought us all together and I think that's what made it so successful.

I played Lily, the pregnant but headstrong teenager which was a lot of fun! But I never had the chance to sing any of the beautiful music in the show (written by Finn Anderson) so when Kris and I were first talking about the gig, we both agreed it was a given that some Streets songs had to feature.

You were in Search For A Twitter Star, how was that experience?

One word: crazy! The whole process happened as I was graduating from drama school, so I was kind of flung head first into the industry which was scary, but really exciting and just what I needed. I had no idea that it would gain the momentum that it did, but social media is such a big part of theatre now and I think it was a clever concept to incorporate the two. I came second, but the whole competition taught me a lot about my voice, about how far I can push myself, and how powerful Twitter really can be!

Tell us about Panto Factor and your lead role last year?

With so many graduates and not enough jobs, I saw this opportunity to win a part in a professional panto and I just knew it was too good to miss. It was an X-Factor style competition, with video episodes aired on YouTube, ending with a grand final show at the Stag Theatre where the winners were revealed. I won the part of Maid Marian alongside Rebecca Lauren, who played Robin Hood. We had the best time, I've honestly never had so much fun on stage! However it can be quite tough; it’s long hours and a lot of shows (sometimes three a day), but it helped to have such a wonderful cast and crew. Christmas isn’t Christmas without panto!

What can we expect from your cabaret? Any particular songs that are a favourite of yours?

It will be a mixture of old and new musical theatre - some songs that everyone will know and love, and some that have been written recently by very talented friends of mine. I love songs that tell stories and have a character to them, and my close friend Joe Louis Robinson wrote something just for me that has such a wonderful arc; the audience can really relate to it. I guess that has to be my favourite song in the show!

Will this be the first time you've ever presented yourself in a solo cabaret?

I’ve done quite a few cabarets in the past as a featured guest, however I’ve never performed a solo cabaret before. It’s pretty daunting to think that it’ll be just me, a piano and a mic! But I’m so excited; a lot of planning and work has gone into the show so it will be fabulous. I’ve got some great guests too who will be coming along to sing some duets - Jos Slovick who was in Spring Awakening and Once, my fellow panto cast member Rebecca Lauren, and my best friend of 18 years Vangelis Polydorou, who is an up and coming singer/songwriter.

Who do you look to for inspiration in the musical theatre world?

For me, a performer that acts through song is someone that I admire and look up to - it’s great if you can hit those high notes but unless you know what you’re singing about then, in my opinion, it’s pointless. Jeremy Jordan, Kelli O’Hara, Rachel Tucker and Cynthia Erivo are a few of those that really tell a story when they sing, they are so wonderful to watch. But my ultimate inspiration and the reason that I’m an actress today has got to be Idina Menzel. Ever since I queued up in the freezing cold at 5am for day tickets to see her in Wicked, I have counted her as my idol. I was lucky enough to meet and work with her two years ago (there’s a funny story there which I’ll be revealing at the gig!) and she is even more fantastic in the flesh.

What are your favourite musicals, or the best that you've seen recently?

That’s a tough one! I recently went to up to Edinburgh for the Fringe which is a great place to catch new musical theatre. I went to see Finn Anderson’s (writer of Streets) new show Alba - A Scottish Musical and it was absolutely beautiful. I cried so much, his music always gets me! It’s been shortlisted for a few awards and rightly so - hopefully it’ll come and do a London run somewhere.

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

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

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

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

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

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

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

Watch the show's trailer:

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

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

Review | FOOTLOOSE (New Alexandra Theatre Stage Experience) August 2014

Since 2003, more than 1200 young performers have taken to the New Alexandra Theatre stage. They have shown and proved that when it comes to putting on a good show, the Midlands youth are a theatrical force to be reckoned with. Following the success of last year's production of Annie, the New Alexandra Theatre Birmingham present a 120-strong cast for the 2014 stage experience, Footloose. 

This is the classic tale of teenage rebellion and repression that follows teenager Ren McCormack's move from big-city Chicago to the small Midwestern town of Beaumont. Although he tries hard to fit in, the streetwise Ren can't quite believe he's living in a place where music and dancing are illegal.  It's a quest to cut loose and convince the Bible-thumping minister, who is responsible for keeping the town dance-free to change his mind. 

With just two weeks to put on a full-scale production with 120 amateur performers you'd be forgiven for thinking that this attempt at a West End spectacular would be a bit rough around the edges... in fact the end product is quite the opposite. Here is a slick, fast paced energetic dance musical that brings together unbelievable talent from the West Midlands. Led by Matthew Russell as Ren, the cast are in incredibly capable hands. At just 15, Russell manages to front the entire show with an impressive voice and a characterisation of maturity beyond his years.

Love interest Ariel is played by Georgia Anderson who provides a powerful, exciting I Need A Hero. Her faultless rendition of Almost Paradise would rival professional singers and compliments the harmonies of Russell beautifully. Comedy is provided by the excellent Callum Connolly as Willard, perhaps the most developed character who earns plenty of laughs from a charming portrayal. His number, Mamma Says brings a welcome sense of fun to the second act. He is partnered with Nicole Appleby (Rusty) whose Lets Hear It For The Boy is easily a highlight. An impressive performance from Aneira Evans as Vi Moore brings the show to a standstill after Can You Find It In Your Heart.

There are minor sound issues whereby vocals are occasionally lost in the volume of the orchestra but this is easily overlooked considering the daunting rehearsal schedule. What is clear from the outset is the enormous effort that makes this yearly scheme the ultimate experience for young performers. Once again Pollyann Tanner directs and choreographs a wholly triumphant production. A phenomenal combination of passion and talent from the stars of tomorrow. Playing until Sat 23 August, do go along and support. Book tickets here.

Watch cast interviews here:

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Cast List: Emily Kate Hall, Kayleigh Johnson, Annie Tabberner, Shannon Weir, Olivia Wicks, Lucy Williams, Jessica Abbott, Shannon Berridge, Emma Cartwright, Felicity Gifford, Amy hart, Vicky Hawkins, Rebecca Ingram, Sophia McDermott, Sophie Tierney, Jordan Abbot, Dru Bennett, Todd Dougan, Lewis Pallett, Sam Rogers, Beth Carter, Sophia Elton, Georgia May Hart, Emily Haywood, Mimi Mendy, Hugh Osbourne-Brookes, Megan Perry, Leah Price, Daveena Saranna, William Taylor, Lydia Thomas, Libby Baskerville, Lauren Brown, Yasmin Cooper, Danielle Florey, Hannah Fuller, Scarlet Griffiths, Alice groom, Niamh Hawkes, Taylor Hemming, Danielle Huntley, Victoria Jackson, Daisy Meade, Molly Phillips, Annabel Russell, Lucy Treharne, Grace Willetts, Taylor Billings, Natasha Fensome, Sarahjayne Gibbs, Millie Lowe, Akinah Muhammad, Saskinah Muhammad, Dale Sewll, Eleanor Thomas, Laura Timothy, Olivia-May Wormald, Richard batham, Callum Connolly, Chris Johnstone, Drew Rafton, Matthew Russell, Mark Walsh, Georgia Anderson, Nicole Appleby, Danielle Cordingley, Aneria Evans, Caprice Lane, Annie Tabberner, Molly Williams, Megan Bird, Olivia Buchanan, Sally Croft, Katie Davie, Molly England, Beth Field, Sophie Freeman, Megan Goldby, Robyn Griffiths, Ellie Griffin, Chloe Harris, Sadie Horton, Talia Manders, Eloise Simpson, Alisha Twine, Emily Wyatt, Katie Wyatt, Priya Appleby, Emily Ashen, Thomas Ashen, Gibsa Lee Bah, Charlotte Bayliss, Phoebe Benson, Verona-India braich, Kyle Dargle, Harry Egerton, Lily Gain, Jasmin Gill, Rebecca Hewitt, Keown On-Ree Inniss-King, Laura King, Thom Lambert, Maisie Lodge, Georgia Martin-Jackson, Mia McLaughlan, Alfie Mitcham, Sophie Rutherford, Ella Sanders, Katie Vaissiere, Amelia Wallace, Khalid Daley, Matthew Evans, Charlie Howell, Nicholas Jones, Joseph Maslin, Louie McNally, Oliver Nicholas, Daniel Poppitt, Michael Reynolds, Caven Rimmer, Nicholas Southcott, Thomas Stringer, Ben Tanner, Dan Taylor, Chris Newton, Colin King, Steve Owen, Andy Waterson, Niel Morgan, Tom Mark, Paul Smith, James Bower, Katie Samways.

Preview | PROPAGANDA SWING (Belgrade Theatre, Coventry)

The Belgrade Theatre in Coventry is thrilled to present the UK premiere of Peter Arnott’s gripping WWII drama Propaganda Swing, a captivating combination of WWII intrigue and drama set against a backdrop of glitz, glamour and Big Band swagger. playing on the Belgrade Main Stage for two weeks this September from Sat 13 – Sat 27.

Throwing a spotlight on the gripping true story of ‘Charly and his Orchestra’, this compelling new play reveals the characters behind the story of how some of the greatest German jazz musicians of the day entered into a Faustian pact with the Fascists in order to continue playing their beloved music at the price of seeing it corrupted for evil.

With music playing an integral role in the show, Musical Supervisor on the show, Hilary Brooks reveals more.

Bradley Clarkson as Bill Constant & Miranda Wilford as Lala Anderson

How did you become involved in Propaganda Swing and what first attracted you to the play?
Hamish Glen, the Director, rang me to discuss the play and then sent me a copy of the script. We had worked together on various musical theatre productions at Dundee Rep and on his first two shows at the Belgrade Theatre. I was so impressed by this story, the style of writing, and the song suggestions, that I had to jump on board!

What does the role of a Musical Supervisor involve?
I am responsible for everything to do with the music, in consultation with the Director and the Writer. This includes auditioning actor/musicians, writing the score, arranging the music, rehearsing the actors who are singing, supervising musician band calls and facilitating the actor/musicians and the trio of professional musicians.

Have you been provided with original scores for any music featured in the show and have you had to create new arrangements based upon the size of ensemble you will be working with?
The songs chosen by the writer, Peter Arnott, are all standards from that era and although there are some resources online, I prefer to transcribe from the original recordings, most of which are available on YouTube, and then input the data into a score programme called Sibelius, which ultimately will allow me to build specific arrangements and importantly, transpose the songs into different keys very quickly.

 Jonny Bower as Charly Schwedler

How would you describe the style of music that features in Propaganda Swing?
It’s 1930s Swing. This featured vocal and instrumental soloists with a rhythm section at the core, led by a bandleader out front, often the arranger. Our band template is vaguely modelled on Artie Shaw and the Gramercy Five.

Propaganda Swing seems set to be an exciting production, featuring a talented cast of actor-musicians performing some of the greatest jazz music of the era. This powerful new stage production will see Chris Andrew Mellon return to the Belgrade in the role of Otto Stenzl following his critically-acclaimed appearance in their 2014 Spanish Golden Age Season. He will be joined by Clara Darcy, whose previous theatre credits include the 2014 UK Tour of Brassed Off in 2014. Completing the cast are Callum Coates as William Joyce/Lord Haw Haw, Miranda Wilford as Lala Anderson, Paul Lincoln as Heinrich Hinkel, Tomm Coles as Lutz Templin, Bradley Clarkson as Bill Constant and Jonny Bower as Charly Schwedler.

View a playlist of videos about the show:

Tickets for Propaganda Swing are available now from the box office on 024 7655 3055 priced from £9 - £21.25 or via the website, here where cheaper tickets are available.

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

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

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

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

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

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

Kerry preparing backstage. Photo Logan Riehl. 

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

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

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

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

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

Preview | THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME (UK Tour)

As well as recently re-opening in the West End, the acclaimed National Theatre production of The Curious Incident Of The Dog In The Night-Time embarks on a UK tour throughout 2015. Winner of 7 Olivier Awards including ‘Best New Play’, The Curious Incident of the Dog in the Night-Time brings Mark Haddon’s best-selling novel to thrilling life on stage, adapted by two-time Olivier Award-winning playwright Simon Stephens and directed by Olivier and Tony Award-winning director Marianne Elliott.

Christopher, fifteen years old, stands beside Mrs Shears’ dead dog. It has been speared with a garden fork, it is seven minutes after midnight and Christopher is under suspicion. He records each fact in the book he is writing to solve the mystery of who murdered Wellington. He has an extraordinary brain, exceptional at maths while ill-equipped to interpret everyday life. He has never ventured alone beyond the end of his road, he detests being touched and he distrusts strangers. But his detective work, forbidden by his father, takes him on a frightening journey that upturns his world.

The UK tour begins in December 2014 before visiting 31 venues including Wolverhampton Grand Theatre from 16 - 21 February 2015. Book tickets for Wolverhampton here.

Listen to some of the music from the production: