Preview | OKLAHOMA (UK Tour) First look at the cast!

First pictures have been released of the upcoming OKLAHOMA tour, featuring Gary Wilmot as Ali Hakim, Belinda Lang as Aunt Eller, Ashley Day (The Book Of Mormon) as Curly and Charlotte Wakefield (The Sound Of Music) as Laurey. 

Touring the UK after premiering in Northampton, the production visits Wolverhampton Grand Theatre from Tuesday 3 - Saturday 7 March. Click here for tickets. 

Ashley Day & Charlotte Wakefield

The cast also includes Nic Greenshields as Jud Fry, Lucy May Barker as Ado Annie, James O’Connell as Will Parker, Paul Grunert as Andrew Carnes, Kara Lane as Gertie Cummings, Christopher D Hunt as Cord Elam and Barnaby Thompson as Ike Skidmore.

The ensemble features Simon Anthony, Christina Bennington, Robbie Boyle, Katie Marie-Carter, Lisa Dent, Emilie du Leslay, Ian Gareth-Jones, Hannah Grace, Ross Lee Fowkes, Perry O’Dea, Sasi Strallen and Gabriella Stylianou.

Belinda Lang

Hear our friends at The Milk Bar podcast talk to Gary Wilmot about his upcoming role:

The tour is directed by Rachel Kavanaugh - former Artistic Director of the Birmingham REP. She directed An Ideal Husband at the Chichester Festival Theatre last autumn. Other credits include The Sound of Music at the Regent’s Park Open Air Theatre, Love Story in Chichester and the West End, and The Merry Wives of Windsor for the Royal Shakespeare Company. 

Ashley Day

Dance numbers are given the Drew McOnie treatment, the highly acclaimed young choreographer's credits include In the Heights for Southwark Playhouse, The Sound of Music and Chicago for Leicester Curve, Soho Cinders at the Soho Theatre, and Dames at Sea and On the 20th Century at the Union Theatre. He recently launched his own theatre dance company, The McOnie Company.

Gary Wilmot

OKLAHOMA!, with music by Richard Rodgers and book and lyrics by Oscar Hammerstein II, was based on the Lynn Riggs play Green Grow the Lilacs and was the first musical written by the duo. It was originally produced on Broadway in 1943 and the Academy Award-winning film was released in 1955. Set in the Oklahoma territory in the early 1900s, the musical tells the story of two sets of star-crossed lovers. Cowboy Curly loves Laurey, Aunt Eller’s niece, but Curly’s rival is the mysterious and dangerous hired hand Jud Fry. Meanwhile, Ado Annie is torn between cowboy Will and peddler Ali Hakim. Their stories are told with the help of some of the best loved songs in musical theatre history, including Oh, What a Beautiful Mornin’, I’m Just a Girl Who Cain’t Say No, Surrey With a Fringe on Top, Kansas City, People Will Say We’re in Love and the title song.

Photos by Pamela Raith. Click here for tickets.

SEE THE CAST IN REHEARSAL

Ashley Day

Lucy May Baker and Gary Wilmot

Sasi Strallen, Drew McOnie and cast.

Director Rachel Kavanaugh and Choreographer Drew McOnie

Charlotte Wakefield and Ashley Day

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 | WEST END WOMEN (UK Tour) December 2014

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

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

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

Joanna Ampil, Ria Jones & Kerry Ellis

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

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

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

Joanna Ampil - Memory

Review | CARMEN (Welsh National Opera) November 2014

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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PLEASE NOTE THE FOLLOWING COMPETITION HAS NOW ENDED.

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

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

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

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

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

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

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

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

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

Behind the scenes on the album:

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

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

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

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

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

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

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

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Review | GRUPO CORPO (UK Tour) October 2014

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

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

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

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

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

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

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

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

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

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

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

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

ALEXANDRA BURKE STARS IN UK TOUR OF THE BODYGUARD

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

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

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

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

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

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

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

Book tickets here. 

Review | DREAMBOATS AND MINISKIRTS (UK Tour) October 2014

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 La Fin du jour 

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

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

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

Dame Gillian Lynne in rehearsals with the company.

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

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

Dame Gillian Lynne begins work on Miracle In The Gorbals

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

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

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

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

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

View the trailer:

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