After it's world premiere at the Manchester Opera House in 2011, Ghost The Musical has since wowed audiences in the West End and on Broadway. The original London staging will be sent across the globe for use on the Korean production due to open later this year. For the UK tour, a complete re-design (which is no way a scale down) travels the length and breadth of the country in 10 articulated lorries.
A team of over 110 riggers, engineers, electricians, carpenters, crew, prop makers, costume and wig staff, designers and production supervisors worked in shifts over 96 consecutive hours prior to the technical rehearsals at the tours opening venue - The Wales Millennium Centre. The get-in for the show takes approximately 50 hours just to set everything up in each venue and 10 hours to get back out.
A ghost's eye view! Image: Ghost The Musical
The truss suspended from the venue's grid can be seen on the photo above and weighs just over 21 tonnes. There are 86 intelligent lights in the rig which by the time of Oda Mae Brown's song I'm Outta Here are lowered into full view of the audience and blast out in every imaginable colour.
Just as the set did in the original production, the tour features LED video screen walls that make up a significant part of the shows set. There are 7 automated video walls that are made up of 172,176 LED pixels in total. 17 computers control all of the set, lighting, sound and effects. Monitor screens backstage show the stage in black and white, colour and from all angles to ensure that the illusions can be successfully executed - there is very little margin for error.
The stage is through there... somewhere!
In addition to all of that there are 5 projectors that are rigged front of house. Images of Sam and Molly are projected all over the stage area and every possible lead performer and understudy combination of Sams and Mollys have to be photographed and filmed together. Even the finest details on the show are carefully considered. All of the driving licenses and passports, record files have photos of the actual cast member playing the role on them, and change with each understudy. All of the sheets of paper in the show are American sized and all of the props were sourced and brought over from America. The vending machine in the Subway scene is full of authentic American candy. Props such as the polystyrene coffee cups are filled with expanding foam to make them last the duration of the tour.
There are a total of 58 wigs used during the show that are washed, set and maintained by 3 members of the wig department. There are 65 quick costume changes and most of these take place in a Wardrobe Quick Change area at the back of the stage. In this area costumes such as Oda Mae's hideous pink leopard print suit are hung and ready to be fitted - the skirt is hung inside out for speed. The fastest quick change is only 6 seconds! The wigs table is carefully laid out in this area too and includes Sisters Clara and Louise, the Subway Ghost and many of the period costumed ghosts. In total there are 217 costumes in the show and 112 pairs of shoes.
The view from the wings of downstage right.
As big as the production may be, the stage performance area is actually quite intimate and a purple floor surface is laid down over the existing stage. The stage floor features tracks in which pallets move across with pieces of set on, such as desks and sofas. In the London production there were moving conveyer-belt tracks and pieces of set that came up through the stage floor, but for the tour it's all reconfigured to come on seamlessly from above or from the wings.
Combining every element of the show, it is clear to see the enormity of the production's scale. It is quite possible that Ghost The Musical is the most technically complex production to ever tour the United Kingdom.
Just one final image, if you thought the wires at the back of your TV were complicated....
It's 1962, the 50's are out and change is in the air in Baltimore! Hairspray, the show with big heart, big songs and big wigs is now into it's second national tour of the UK and Ireland. Part of an incredibly talented and energetic cast of over 30 - Waterloo Road's Mark Benton leads as the loveable Edna Turnblad, Eastenders' Lucy Benjamin is the scheming TV show producer Velma Von Tussle and X Factor finalist Marcus Collins is Seaweed J Stubbs.
MARK BENTON
Mark Benton as Edna Turnblad (Luke Striffler as Link Larkin)
Known to many for his roles in Early Doors, Northern Lights, Waterloo Road and in films such as The Imaginarium Of Doctor Parnassus, screen favourite Mark Benton returns to the stage and for the first time in a musical. "I trained at RADA, primarily for stage and I absolutely loved my time there, I had a really mixed and interesting year group and I learnt a lot. I did a lot of theatre, plays, this is my first musical but I've done a lot of TV work now and I couldn't say which I preferred. Once I'd finished Waterloo Road I really wanted to get back in the theatre, but I know that once Hairspray's over I shall want to go and do some TV work again."
So, what's it like rehearsing for something like Hairspray? "Rehearsing Hairspray was completely different to anything I'd ever done before. On TV you barely get a rehearsal, you just go with your first instinct and most of the time that's right - and that's what can be annoying about stage rehearsals... You can go with your first instinct in a play, or musical like this, try a million other ways and then more often than not go back to how you did it originally! Something like Hairspray though is set already, it's been done all over the world and they know what they're doing - things move really quickly. The show moves really quickly too, you learn to pace yourself... although we've just had a week off so it's been a shock getting back into the swing of things."
Also a shock to Mark at first was the perils of working in a female fat suit. "It's not particularly heavy, it's just very hot. I'm not looking forward to spending a summer in that. Especially in the big dance numbers like Welcome To The 60's and You Can't Stop The Beat - it gets very sweaty!" During the show Edna and Tracy undergo makeovers, each of them having a little over 30 seconds to completely transform: "It should be one of the hardest parts of the show, but for me I just stand still. I run off stage and have four dressers who manage to change my dress, shoes and wig and get me back on stage to finish the song - I love Welcome To The 60's, it's a great part of the show and really gets the audience going, especially after the reveal. Edna really blossoms after the makeover, she's a good woman and I see her like a bit like a butterfly, she develops into something beautiful from something quite drab. She's insecure at first and I play her quite masculine and become more feminine as the show goes on to chart her change of character."
"I hadn't seen the show when it was on in the West End and I haven't really seen the film properly - the kids have got it, so I've seen bits but I wanted to put my own spin on what is such an iconic role as opposed to just copying John Travolta. Apart from Welcome To The 60's my other favourite moment has to be singing Timeless To Me with Paul Rider who is Edna's husband Wilbur. I've worked with Paul a few times and we understand each other, so we have a great laugh singing together and we love working with Freya (Tracy) too! She's fresh out of drama school, bright eyed and enthusiastic and has so much talent!"
LUCY BENJAMIN
Lucy Benjamin as Velma Von Tussle (Sandra Marvin as Motormouth Maybelle)
Lucy Benjamin is having a lot of fun playing Velma on the tour but she couldn't be more unlike her horrid character. "I'm having so much fun playing Velma, she's the best character to play. She's stuck in her ways, she's not at all ashamed of her racism, which of course makes her a horrid person, but so much fun to play. I sometimes get booed, but that's great - because I know I've done my job properly! It's a good job I love it because I struggle to escape the world of Hairspray - my children love the show, they're always watching the film and if they're not doing that they've got the CD on... constantly!"
"I remember seeing the show in the West End and I loved it but I enjoy being in it much more. I watched the film before I auditioned to familiarise myself with the role but I didn't want to get too bogged down in someone else's interpretation. I've put my own spin on a character who is essentially an evil Disney princess. Her dresses are like Belle's, I love being a princess! When I'm not being a princess I love to watch Marcus Collins do his thing - he is a delight! Marcus just raises the roof, the audience love him and his song Run And Tell That is one of my favourite parts of the show... apart from when I get to sing of course! I love doing Miss Baltimore Crabs but my favourite bit to do is Velma's Revenge where I'm dragged backwards on a platform by the boys and all the smoke blows of out it - evil!
MARCUS COLLINS
Marcus Collins as Seaweed J Stubbs (Freya Sutton as Tracy Turnblad)
Marcus Collins rose to fame and won the hearts of the nation, finishing second on the 2011 series of The X Factor and after touring the UK with the show's concert tour this tour of Hairspray marks his professional theatre debut. "The tour's going great, everyone's enjoying it and nice to be travelling to different parts of the country and seeing different cities. I'm excited about Liverpool because that's my home crowd, I'll have loads of friends and family in, but after that we've got Birmingham and I'm really looking forward to performing at the Hippodrome. I wanted to try something new after X Factor, and performing in theatres is great. I did a lot of musical theatre when I was younger but I've always wanted to do something that was a bit more commercially rewarding, and X Factor gave me the chance to be heard and get a single and album out. I'm still in the studio, recording new stuff whilst I'm on tour with Hairspray. It's two completely different worlds though, here people are coming because they're interested in a story and the characters, they're not just coming to listen to someone sing and they're not watching me - they're watching Seaweed. With Seaweed I've tried my best to tone my accent down, I've always had a broad Scouse accent and I think people are surprised when they hear me."
"For those who haven't seen the show, Hairspray is one of the most feel good shows you will ever see and it takes you back in time. The score is beautiful and at the end of the show you'll be on your feet, dancing in the isles! For me, Hairspray is a celebration of the fact that nowadays we have the freedom to live as we do, to be who we are and who we want to be, mixing with people of all different backgrounds. The 60's wasn't that long ago, and I'm amazed at how far society has come."
"I'd never seen the show before doing it and so I got to create my own version of the character based on the script and what his song is about. Although, after I did go back and have a look on the internet to see what other Seaweed's out there had done, just being nosey really...!"
Being a hairdresser before entering into X Factor, you could say Hairspray is the perfect show for Marcus... "It's great, Hairspray amongst all other things is about great hair, and there's some fabulous wigs in the show. For me, being a hairdresser has been a vital part of the experience, I get a real buzz out of seeing the different styles and colours going on. I style my own hair, everyone else goes to the wig department to have theirs fitted, but no, I sit here and do my own!"
"There are three bits of the show that I absolutely love, obviously my song, getting to sing Run And Tell That is great, but my stage mum Sandra Marvin singing I Know Where I've Been, I love that. I remember sitting in the cinema watching Queen Latifah sing it in the movie and it really moved me to tears - such a great song about strength and how far we've come. My other favourite bit is the end, You Can't Stop The Beat, you get the integration between black and white people and the stage is just full of colour, the costumes are great, everyone's up on their feet dancing and just having an amazing time!"
Hairspray also stars Freya Sutton as Tracy Turnblad, Paul Rider as Wilbur Turnblad, Lauren Hood as Penny Pingleton, Sandra Marvin as Motormouth Maybelle, Luke Striffler as Link Larkin, Josh Piterman as Corny Collins and Gemma Sutton as Amber Von Tussle.
Hairspray plays at the Birmingham Hippodrome from 21st May - 1st June 2013, and you can book ticketshere.
You can listen to the Birmingham Hippodrome Podcast for Hairspray below!
You can also download and listen to the latest Birmingham Hippodrome podcasts for free on iTunes here.
Priscilla Queen Of The Desert is the film turned musical and story of three Australian drag queens who travel across the Australian Outback from Sydney to Alice Springs on a tour bus named Priscilla. Tick (or Mitzi), Bernadette and Adam (Felicia) enlist the help of mechanic Bob en route to help their battered bus survive the journey.
Australian actor Jason Donovan who originated the role of Tick/Mitzi in the West End production is only touring with the show in the earlier venues (with Hearsay's Noel Sullivan taking over later) but Donovan has pre-arranged days off from the production, two of which are in Birmingham. At this performance to the delight of the local crowd - Birmingham boy Wayne Fitzsimmons steps into his shoes... heels of course. First making headlines in the 2010/11 pantomime Dick Whittington at the Birmingham Hippodrome Fitzsimmons took over the role of Queen Rat from Hollywood actress Joan Collins when she was taken ill with flu.
With ease he wins over the crowd, mastering MacArthur Park which with four large green cupcake dancers is one of the highlights of the show. There is a sweet connection between Fitzsimmons and Coventry schoolboy Oscar Francisco who plays Tick's son Benji that warms the heart. Richard Grieve adds sophistication to proceedings as post-op transexual Bernadette. No stranger to the show Grieve played the role of Tick in the West End production and having seen him in both roles this is where he shines most brightly. The third of the trio is Graham Weaver (Save The Last Dance For Me) as Felicia. Understudy to Oliver Thornton in the London production Weaver is more than experienced in the role. The youngest and more carefree of the girls, Weaver has fun from start to finish, hotting things up with Venus and Hot Stuff - mincing around in hot pants and leathers his serious talent is shown in the Kylie medley bringing the house to rapturous applause with a powerful Confide In Me.
Also worthy of such applause are the incredible divas. Emma Kingston, Ellie Leah and Laura Mansell descend from the sky (at least now they do, unlike Birmingham opening night) and belt the dance floor classics. Regan Shepherd hilariously goes full out as Farrah with monstrous eyelashes and is a convincing and most glamorous Young Bernadette. Alan Hunter wins early attention as Miss Understanding and Frances Mayli McCann works the crowd as mail order bride Cynthia in Pop Muzik popping ping-pong balls.
A new addition for the tour was a ticker tape screen that was there throughout the show and told us where each scene was taking place, such as "BOB'S KITCHEN". Unnecessary I thought, it seemed a little like they were suggesting we couldn't work it out for ourselves.
The limitations of touring often work to the shows disadvantage and unfortunately the West End production of the show was always too ambitious for the road. The bus which was a star in it's own right of the London show is replaced by majority a framework with video screens for windows. It works, and for those who hadn't seen the London production it was probably rather exciting, but it's hard not to compare and this was a little underwhelming. Timing issues with sound effects and the various roadkill lost the impact of one of the shows funniest visual gags. The famous "shoe" was replaced with what looked like a life guards chair and again lost the impact that the London show had by which it came out on a platform above the audience. Follow-spot operators on makeshift platforms balancing on seats at the back of the circle were clunking around which was distracting, far worse than sweet wrapper crinkling. There were noisy set changes behind curtains that could clearly be heard over dialogue. The running of the show just isn't as slick as the near perfect London production.
In no way though does any of this stop Priscilla Queen Of The Desert from being the flamboyant, fun and feel-good night out. The talented cast could no doubt pull off the show without any scenery and it still be a hit. Well worth a visit when the bus stays for a pit-stop in your town. Venues and tickets here.
Coricopat is the male of the twins in the musical Cats. Heshares very similar make-up and costume to the female - Tantomile. Throughout the show as the psychic cats Coricopat and Tantomile are always the first to hear and react to everything and when they do they move in perfect sync. Not only do they have a difficult job on stage but their make up is one of the most complicated too...
The show goes up at 7:30pm each night and I joined Richard Astbury in his dressing room a whole three hours before the show to begin make up at 4:30pm!
Richard begins applying the first base, an Oriental paint stick, which looks rather like a dodgy fake tan. Sponging it everywhere but his mouth area which he then fills in white. Coricopat's wig is quite high and the costume neck quite low so Richard has the most to paint including his ears and down to the bottom of his neck. After each different section or colour, powder is applied and brushed in to keep the colours dry and stop them smudging. During the show this also helps the make-up in its battle against sweat.
The first detailed part are the eyes and Richard begins with the black detail. It takes extreme concentration, particularly to match the left side with the right. In the very beginning Make Up Supervisor Maria Cave provided each member of the cast with the original designs, she would paint one half of their face and they would have to copy it on the other side. Each member of the cast has to do their own make up and some of them, including Richard are understudies for other cats and have to learn their make up too! Richard covers for Rum Tum Tugger, Macavity and Skimbleshanks.
Once the black flecks above the eye are done, white and brown is then added in, flicking it upwards. Richard's eye design differs very slightly to the original design, the flecks are slightly bigger so that it matches Tantomile's (who has a smaller forehead) and the eye make up meets the wig which sits quite high. Even at this far into the process after half an hour, there is still no one else in make up. There's no else even around yet, apart from Barry... making a cup of tea. He's a swing, he covers the older male Cats and wasn't on that night.
Next are whiskers, and luckily these aren't symmetrical. First they're painted on white and later black is added to accentuate them. The first black paint added to the mouth area is to create a nose, painting the underside around the nostrils, a black line down the the philtrum and then out across the lips. At this point it's important to put the powder on immediately to stop the black upper lip and white lower lip from merging and becoming grey when you close your mouth.
Once the black detail around the whiskers has been finished it's time to head into the wig department. Richard's wig cap is fitted by the deputy wigs mistress Jess Bishop. All of the cast come here to get their wigs and to have them fitted but first Richard has to take his back to the dressing room for the next stage of the make-up. The colours in Coricopat's wig are the same as the make up, but have to line up on the face so the fusion between hair and paint isn't obvious from the stage.
The neck is painted black, all down the sides, into the hairline and completely covers the back of the neck. Flecks of black extend from the back of the neck into the orange colour at the front. Other flecks of white and brown are added too.
After 90 minutes it's time for physical and vocal warm up. For the cast who have all now begun their transformations there is still a lot to do afterwards. The wig room is very busy after warm up, microphones are fed through the wig caps and fixed into place at the top of the head. For Richard, once his wig is secured there are a final bits of make up to touch up on before costume. The amount of powder required dulls the colours of the make up and so this is the time to make it all stand out again by going over the bits that have faded.
As Mister Mistoffelees would say - "PRESTO!" the make up is complete. It's now only 15 minutes until showtime, and Richard is ready for costume. Shoes, tails and accessories are kept together in individual boxes for each character, after collecting these and putting them together with the catsuit itself.... we have Coricopat!
You can watch a time-lapse of Richard's lengthy transformation in under 3 minutes... If only it really took that long!
Richard is one of a 28 strong cast for the UK/Europe Tour of Cats so his lengthy transformation is actually only a very small part of the overall daily preparation for the show. Here is a little glimpse at what else goes on behind the scenes at Cats! (As with all of the pictures, click on them to view them larger)
Joanna Ampil who plays Grizabella first appears on stage for the opening as a kitten, her make up looks like this until she later adds the tears and wrinkles required for the ex-Glamour Cat Grizabella. (Production photography by Alessandro Pinna).
Cameron Ball plays Admetus at the beginning of the show (left) but transforms mid show into Macavity (right) which requires some alterations.
Will Lucas begins his make up for Bill Bailey and James Darch uses a close up mirror to add the finishing touches to Alonzo.
The wigs on one of the tables include Skimbleshanks, Old Deuteronomy, Munkustrap and Gus (left), Lily Frazer's Demeter wig and Dawn Williams' Jemima sit on the top shelf (right) and the costumes are all stored together and brought up to the dressing rooms to put them on.
There are some extra backstage pictures taken during the get in for the show on the Wolverhampton Grand Theatre's blog which you can read here.
Cats continues in Wolverhampton until Saturday 30th March and tours the UK and Europe for 14 months through into 2014 - more details of the tour can be found on the official website.
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.
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.
Paul and Barry, the Chuckle Brothers are everyone's favourite slapstick duo who have been entertaining (and creating all sorts of mischief) for decades. Every year they tour a brand new production all over the UK from February right through until the end of the summer. Always joining them on the road are their elder brothers The Patton Brothers - Jimmy and Brian.
Jimmy, "No Slacking...!"
Jimmy, or, Mr "No Slacking" took some time out of rehearsals to explain this year's mad-cap plot.
We've got a run-down theatre which the bailiffs are trying to close down and make into a huge car park. I play the theatre manager who wants to put on a big show to attract the audiences back. It is revealed that the theatre is haunted and there is a phantom helping the council to close it down. I advertise for help in the local paper and the fun begins when Paul and Barry apply for the job.
Jimmy's stage career has seen him perform with some of the biggest stars and at some of the biggest theatres. The highlight of my career was doing a 19-week season at the London Palladium with my brother Brian. That was in Cinderella which starred Ronnie Corbett, Clodagh Rogers, Terry Scott, Malcolm Roberts, David Kossoff, Julian Orchards and us - The Patton Brothers. Another highlight was a 12-week season at the Victoria Palace Theatre in London, where Billy Elliot is now. We did Mother Goose at the Victoria Palace and that stared John Inman, Arthur Lowe, Ian Lavender, Susan Maughan and Dawson Chance.
Mother Goose 1981 - London Palladium
In 1961/2 Brian and I were doing Aladdin for Derek Salberg at the Alexandra Theatre in Birmingham. We were playing the Chinese Policemen in the pantomime that starred Edmund Hockridge, Mikki & Griff and Joe Church. We got a phone-call from the TV Producer Francis Essex asking if we would appear on Sunday Night at the Palladium, live on TV! What an experience that was - top of the bill was Tommy Steele!
The success of the Aladdin pantomime in Birmingham saw it transfer to the Wolverhampton Grand Theatre the year after.
Aladdin - Wolverhampton Grand Theatre
We always play the Wolverhampton Grand Theatre every year on tour, and it really is a lovely theatre to work. They are such a great audience to play to! The show is always a real family show and there are plenty of gags thrown in for the grown-ups as well as the kids - so bring the family!
You can book tickets to The Chuckle Brothers Meet The Phantom At The Theatre at the Wolverhampton Grand Theatre (what a mouthful!) for Monday 8th April 2013 here.
Perform and Move It are the ultimate performing arts events packed with performances, workshops, seminars, interviews and stalls for the biggest names in dance, drama and theatre. Over three days the event welcomes over 20,000 visitors from the world of creative and performing arts.
One of Move It's hotspots is the Dance Register Interview Sofa with host Annaliese Dayes (America's Next Top Model). Tommy Franzén (So You Think You Can Dance) spoke to Inside Dance TV about his career, time in the Rodin Project and his past and future involvement in ZooNation's Some Like It Hip Hop. Also the D.inc. Wear campaign models (Aaron Renfree, Erin Dusek, Danielle Peazer, Dominique Tipper and Anthony Kaye) showcased the hottest dance-wear from Mrs Jones.
The Showcase Theatre, hosted by Dean McCulloughwas alive with performances from the leading dance schools, colleges and academies - a great place to meet the principles, current students and if you're about to audition it's a great opportunity to watch and choose the school that's right for you.
The Main Stage, hosted by Matt Flint was the centre of attention quite regularly throughout the day. Kimberly Wyatt premiered Tea For Two (starring Adam Garcia) and performed her latest single Derriere. Jonathan Wilkes sang Mr. Bojangles promoting his new school Wilkes Academy in Swindon. There were also performances from Twist & Pulse and recent Got To Dance contemporary-jazz sensation G-Nome.
The Main Stage was also the place for dance colleges to showcase their work to thousands of dancers, choreographers, directors and enthusiasts. Highlights included Let There Be Love by Urdang Academy, Masters Performing Arts College's Commercial routine Until They Kick Us Out and Performers College Luck Be A Lady.
URDANG ACADEMY
MASTERS PERFORMING ARTS COLLEGE
Over in the Perform hall (which was a lot quieter) an interview with actor/writer/director Steven Berkoff was most interesting. Berkoff who has most recently been working on Actors Lament began with how he as an out-of-work actor began writing to rid his lack of self-worth. "I wrote for my own entertainment in the frustration of not working and to earn some self-regard. When you're a dancer, even if you're unemployed you can still be 'working' by taking dance classes every day to perfect your craft - you're not just sat around... it's different for actors, you can't always do that. Actors I urge to learn text. Take great and significant texts like Shakespeare, for grittiness learn Macbeth... learn it all and by doing that you'll strengthen your acting mind."
Berkoff who was taught mime by Jacques Lecoq went on to explain how theatre today has lost its sense of ensemble: "Lecoq taught us to think outside ourselves and outside of our egos. He taught us ensemble and how to utilise gesture and the body and it should absolutely be mandatory for directors to do a course in Lecoq. They know nothing about the body and so they create a fantastical dead theatre. People like Julie Taymor are a great example of those who have benefited from Lecoq, look at The Lion King - it utilises every element of the body - and my work has always been about that."
The amateur rights for Broadway musical Avenue Q were released this week and Rupert Sharp explained that demand for the show has seen Josef Weinberger Ltd. inundated with requests. They offer the Libretto, piano conductor scores, logo packs, video animations as well as the hire of 11 rehearsal puppets and 15 performance puppets all made with the same appearance as the puppets in the professional productions. More information here.
In attendance at Perform/Move It were a group of young Midlands students and theatre-goers. For them, the trip was organised by the
Wolverhampton Grand Theatre
Get-In! Youth Scheme
Get-In! is open to all 9 - 18 year olds and for just £10 a year offers a range of fantastic benefits for those interested in performing arts. The offers include £5 best available stand-by tickets for shows at the Wolverhampton Grand Theatre, backstage tours, Glee Choir, summer schools with West End stars and theatre experts, workshops, London theatre trips and opportunities to visit events such as Perform/Move It.
Grace Gull was a Get-In! member for five years and since January has been an active member of the team behind the organisation and planning of education events for the Wolverhampton Grand Theatre. She was a supervisor for the Get-In! members at Perform/Move It and reflects on the trips success:
Perform/Move It was a great event that allows the creative industry, music, dance and drama, to come together and showcase talents whilst giving advice to the future generation of performers. The Get-In! members throughly enjoyed the day and got some great advice from industry professionals. The members attended a range of workshops from a conversation with Steven Berkoff, direction movement with the RSC and musical theatre to name a few. The Get-In! members had a brilliant day and gained from the advice that the top class drama schools could give them.
